Phil Balsdon
Forum Replies Created
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What is the original resolution of the clips?
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
The most important part of filming jewellery is lighting. It’s all very shiny reflective surfaces so what you light with will almost certainly be reflected. For this reason it is usually best to use some form of “light tent” or lots of large scrims or cards around the piece. Hard lights will reflect as sharp “pings” of light, carefully placed these can be used to advantage but can also be quite troublesome.
Google will find you plenty of tutorials I thought this one was quite good; https://www.bmpt1.com/tutorialimages/jewelry01/jewelrytutorial01.html
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Try using Compressor to convert the exported Apple ProRes version.
Vimeo has some good tutorials on using Compressor and optimising quality.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
What version of Quicktime is FCP 7 using? I have this problem and same message on one of my computers that runs OS 10.5 since Quicktime updated to v7.7 from v7.6.6.
My laptop runs OS 10.6 and FCP uses Quicktime 7.6.6 and the same files play fine.
I’ve found posts on other forums with the same problem. It’s not a fix that’s as simple as uninstall Quicktime 7.7 and reinstall 7.6 on the OS 10.5 machine. Apparently I need to do a system reinstall. Bought a new drive yesterday, will spend the weekend doing a clean install, thanks Apple but I’m sure it’s doing something to improve your iTunes consumers experience.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
That kind of camera move, at that speed is not suited to 24p, 25p or 30p progressive scan, it’s much too fast.
This is why 50p or 60p looks better.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
My regular lenses are the L series Canon f2.8 zooms. For low light and when I want extreme low depth of field I use the faster primes.
I’m not totally a fan of the extreme low depth of field all the time. I don’t really like part of the face in focus and the rest out. Also find that when the background gets too defocused you can’t see what it actually is and it starts to take on flat no depth sort of look, giving to the whole image a likeness to a studio chroma key or CGI, ie a foreground subject in front of a flat background.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
At f2.8 a lens allows only a quarter the amount of light through as at f1.4.
2 full stops.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
7D and 60D are basically the same technology. The 60D has some useful features such as the tiltable lcd viewer and manual control for sound. A Nikon to EOS adaptor would enable you to use your Nikon lenses on the Canon.
Exposure bracketing is not viable in the same way as stills on video. Investigate some of the custom set ups which enhance the dynamic range for video on the Canons and familiarise yourself with colour correction in NLE post production and you should be fine.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Where are you looking at the export?
What monitor did use use to view the grade.
Because it’s H264 I’d assume you are looking at the export in Quicktime, what are your Quicktime settings?
These factors are all relevant to what you see, which is not always what you’ve got.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Hi Jose,
If by best you mean the very best quality but Canon branded look for ‘L’ series lenses. These will be the best optical quality Canon make, they’ll be more robust and have wider and constant aperture.
The lenses you mention are not really Canon’s professional quality. They don’t have a wide aperture nor is it a constant aperture, ie as you zoom at the widest aperture the exposure will change on video.
Naturally the ‘L’ series will cost considerably more.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/