Rob Manning
Forum Replies Created
-
The link is a good place to start.
Generally, shooting neutral is a good rule because of in post latitude.
The Flatt profiles expand the possibilities greatly.
I was at an APA Canon based seminar about shooting fashion video.
The instructor said shoot in the color setting that matched the shot/scene but most of the folks who I know shoot neutral.
He also said that the differences between the h.264 capture and an SSD HDMI direct, were so small as to be negligible.
That might be true for shooting something like a company picnic however, editors I occasionally hang out with maintain that 4.4.2 capture, in DNxHD or ProRes, IS a consideration if the content is going to be motion graphics, or 3D laden (not stereoscope 3D).
That being said, you do have a direct HDMI capable body, just something to consider.
I’m reading the 2nd edition of the Rich Harrington, Robbie Carmen and Jeff Greenburg book, An Editor’s Guide to Premier Pro (Cs6).
Here is a snippet which considers another POV:
“Many editors believe you must transcode your media for color grading, but this is not accurate. The intermediate codecs that many are accustomed to using do not buy you any more dynamic range for color grading. Adobe premier Pro automatically up-samples media to 4.4.4 and 32-bit float point.”
Have fun, the Nikon is a great camera!
Nice lenses BTW.
Rob Manning
-
Hi Danny, from another site, somewhat dated but:
” 24sF is a transmission method to make 24p compatable with 1080/60i processing and switching equipment. It will display on a CRT monitor as 48hz. The lines of the 24p image are alternated across the two fields just as in interlaced video.
The major difference is that the lines are not temporally separated in time. They are pulled from a single progressive frame. Therefore the sF process can be completely reversed back to 24p. 24sF was intended as an internal format for broadcasting and production although several consumer scalers now support it.”
In other words, your NLE such as Premiere will handle the footage you load (interlaced, progressive) and so far on my D800, the ingest is automatic plus I convert everything to CineForm (4.2.2 10 bit) which some might consider over kill, others not so much.
HTHs
Rob Manning
-
I have the Samson ear piece USB wireless, this Sony is an excellent low end tool for close range.
I cam see one for two way, another couple for multi sources, and a small mixer.
Batteries, rechargeable ones go much longer than typical toss away versions. Thanks for that!
Rob Manning
-
The show at Paramount, (Cine Gear Expo) has a couple of dozen brands.
What are you willing to spend?
Small HD, is on the bleeding edge because that is their core business.
Their OLED screen is visible in very bright conditions and they were showing me another screen which is a higher resolution (LCD) that worked as well in the afternoon sun.
The settings, menus, were layers deep and could be changed in real time, both came in at over $2k.
A good option from them is the DP4 kit, which has a loupe for around $700.
RM
-
Set check, dry run, scopes and so on.
These are the engineer’s task but on a small scale shoot, fall back onto the director as operator.
I learned that the hard way myself, between 2)D7000s, 1) MK2 and 1)T2i each with a different lens.
The color differences between the four sets of footage, because we did not have a lighting dry run was a challenge in post. The two Canons leaned very much to red, the Nikons less so.
Had I to do it over again, I would have demanded (politely) the house bring the room to show lights, in three or four variations, run clips for each camera then taken the clips backstage to Premiere and examined them for exposure, highlights, and so on.
We (four operators, I was on a D3S for stills) had compared the variants, and made educated (see: experience) guesses as to f/stops, and neutral settings but it was obvious, our eyes had lied.
Just my .02 cents.
Rob Manning
-
Thanks Ann,
That is why I thought (surmised) after a while, better to be informed.
RM
-
Hi, as noted a shock mount, or, use a shotgun mic into the Zoom but placement close in, out of shadow and view, above and pointed angled down will be key.
Each shot (Shot list? Story board?) on set should have a dry run and a separate handler for the boom pole.
HTHs
RM
-
“Stay calm and be tricky”
Is CS4 handling this codec according to your other readings?
RM
-
Hi, a kettle of fish.
It sounds as if CS4 is behind the curve then?
VLC Player might bridge the gap, like Streamclip is supposed to.
You could use the View NX 2 program from Nikon, limited in some respects but should play/edit fine.
Also, GoPro (CineForm) has a free editor, which is fairly well rounded.
Trans-coding into DNxHD for which purpose?
If you are capturing onto an external device perhaps if the work is going to be edited for motion effects and graphics primarily, otherwise the visible differences are so slight as to not be noticeable but, best is always the best, I get it.
Older CPU/GPU combinations would slow down with native h.264 which is why the transcode meme exists but newer gear does better now with native h.264.
Have you tried asking on the Premiere Pro forum here in Cow land?
Try downloading the CS6 demo, if that works then I would seek an answer on the Adobe forums via the help menu in Premiere.
I’m sure you will find a solution.
There are guys on this forum who may have a better take: https://www.nikonians.org/forums/dcboard.php?az=show_topics&forum=402
HTHs,
Rob Manning
-
Hi Sally,
I use Smug Mug pro, and generally do not post to YT or V, yet.
SMP allows file sizes up to 3GB and or 20 minutes per clip and these can be chosen by the viewer to be in five different resolutions if accessed from the outside.
As follows: https://help.smugmug.com/customer/portal/articles/84563-video-details-and-specs
I believe that Vimeo, allows large file sizes as well, and am budgeting for that transition because my SMP account is more like a place holder portfolio because I’m not adroit at writing html5 and the look is, somewhat pedestrian for my taste.
Yes, my pro friends do use Vimeo.
Sounds as if you have a bead on the fix.
Have fun!
Rob