Peter Tooke
Forum Replies Created
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Thanks Alex –
I’ve been out of the loop for awhile and from your reply, its clear that my problem is indeed a problem with no easy solution. I’ll be messing about with things next week & see what I can do-
best for the holiday weekend-
pete
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Confirmed by Martin @ DH, no way as Premiere does not read them as titles, sees them as custom plug-in data. So trying to make sense of Spherico TitleExchange – which does read DH Subtitles & supposedly can convert them to any number of formats. Trying to determine best workflow now but a tad complex at first glance…
Clues always appreciated, thx
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both codecs can be brought into FCP ( as prores )just fine, so this really shouldn’t be your main concern. There are plenty of examples of beautiful pieces ( Vimeo et all ) shot with both, and I’d bet all were edited on FCP…
I’m actually editing a few pieces with footage from both ( actually the previous model GH1 and a 5d). And word is the new GH2 has much better image quality than the last generation GH1.So for your stated purposes ( ie unlikely to be blown up to the full screen) make your decision with how you like working with the cameras… articulating LCD is really great for run & gun doc stuff, auto focus very useful in doc as well. lots of info out there, try the Philip bloom and DVX user group sites for a ton of opinions.
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john –
thanks for that, i’ll check it out tonight.
and i guess survey says… re: pros & cons – transcoding the dvcpro hd material a waste of time / compression…. vs make everything full raster like the canon and lumix.
Final output is tbd, but generally whatever looks best.
peter -
oops sorry, didn’t read entire post
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Thanks Rafael.
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Yes, I guess… But since there is little chance that the client would ever want to go back to the film, and since you are paying for the telecine why not create a high quality video master to cover any future needs; but the need right now is just the ability to project a short piece as part of a gallery installation.
Thanks-