Ryan
Forum Replies Created
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I have found that upon import AE reverses the position motion. You have to reverse the keyframes for the position animation.
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I would simply plug two mics into one camera and two into the other and record them as seperate channels. Have your camera people wear headphones and monitor the levels. Then all the tracks will be seperate for you to do whatever you want with them.
Or follow the other person’s advice and hire a professional.
Without knowing what you are shooting for or the budget that you can work with you will be limited as to the answers you receive. Just a tip.
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Download Avid Free DV and it will get you started on all things Avid. There are tutorials on their website.
Both systems are farely equal in their abilities. The multicamera of FCP seems to be a little better in that it displays more than 4 camera’s at a time.
I personally like Avids for their audio setup more then FCP. But that is just me.
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The footage has to be converted to 24 before it is imported I believe.
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You would either shoot with the camera’s squeeze mode or utilize an anamorphic adaptor.
Ryan
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This is to broad a question. What type of line? Stroked?
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Digieffects Delirium has a fire plugin. Or you could use one of many particle generators to achieve that effect.
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Micheal
Like I said in my last post, I agree with you. I don’t think the audience could tell the difference and if picture quality were and issue for them then “Blair Witch Project” wouldn’t have made two cents.
All my point was was that there is a difference between those cameras and those differences make them uncomparable when it comes to the abilities of the camera’s.
But to clarify, as far as audience is concerned, I agree, most can’t tell the difference and don’t care to know if there is one.
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What makes the camera expensive is not what format it spits out on tape, it is how good the quality of the image is before it hits the higher end compressor that makes it better (higher end). Better glass bigger chips.
To use the car example again, the general principle behind cars has not changed since their creation. Four wheels, steering wheel. They get you from a to b. By your logic ferrari’s should cost less so that everyone can afford one. But what you don’t realize is the differences far out weigh the similarities. People don’t buy ferrari’s because they look like ferrari’s, they buy them because they drive like ferrari’s.
Same with the camera’s, people don’t buy them because of what they are, they buy them because of what they can do.
Ryan
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That is my point. I am not putting down the HVX200, I am just saying that as far as quality go, they don’t compare.
And in the end, no the public might not see the difference (for the most part they actually don’t care).
There is a reason things cost more money, whether it be better parts, larger chips, more R&D.
I work for a company that has the highest end of everything. VTR’s, Camera’s. NLE’s, Compositors. And trust me, they don’t do it because they enjoy spending the money so it appears that they are spending money. They use High End stuff because they want the product to look the absolute best that it can at its origin, so that when it gets hit with all the compression and distribution issues, it can still look fairly well.
Do you think that people use the higher end equipment just because it looks like it is expensive, no, they use it because of the quality of the picture they get out of it. Because again, their budgets are tight as well, and if there was a choice to spend less money and achieve the same result, they would do it.
I do agree with Micheal in that you don’t have to spend the money on equipment to make good product. I have a DVX100 and make good product all the time, and it suits me fine in that my budgets are so low that I can make great profit off most jobs. Would I like an F900 or a Varicam, of course. Do I want the stress of having to answer to someone because it is their money I am using for the production, no.