[Sareesh Sudhakaran]

Of course.

I’m not a mixer but in my experience my favorite is Nuendo, but you can use any professional DAW, as long as you can make it sound good! Cubase is great for music.

Pro Tools is an excellent performer, but I’ve always hated the Apple way of doing things.

I’ve also used Adobe Audition and it’s very intuitive. Investing in CS6 on PC is a great idea for 2012 if you’re a filmmaker.

I’ve yet to see a bad edit or mix due to a DAW.

https://wolfcrow.com/blog/ – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

“So I will have a look for a couple of good monitors that are also offered with a subwoofer, so that sometime in the future I could upgrade to a surround setup if I want to.”

There is no point using a subwoofer in your studio if your mix is going elsewhere for various ‘environments’. In fact, it will create the wrong kind of mix.

Surround mixing can be ‘done’ in a controlled home sound environment. I have friends who use such setups for small projects. Eventually, they bring the project to a professional facility for final mixing.

The Speakers are just a small part of it – it’s the environment that is the most important.

“Just out of curiosity and not regarding my setup: What would be a typical setup that is used for a feature film, lets say a big budget Hollywood movie? Would they mix their stuff on a (really expensive I assume) 5.1 or 7.1 setup?”

A movie theater has many sound systems, and today’s DCI specs allow for a range of mixes and channels. A multiplex with THX will be different from one with Dolby. There are many other variables as well.

DVDs and Blurays have a different mix. Then there is also a stereo mix for broadcast, etc. Also headphones and the ‘iphone mix’.

It’s not a 5.1 or 7.1 setup in the consumer sense. The cinema theater sound characteristics are totally different from a room’s. The bigger the cinema, the greater this difference.

“And what would a top notch music producer use? Would they have an extra sub or just two high quality monitors?”

My music composer works from home in a stereo setup. Music composers usually don’t mix, they just compose and lay tracks in whatever software they feel comfortable in. My composer works in Cubase and Nuendo.

Eventually, the tracks are taken to a Pro tools facility (not because it’s the best, but because everyone’s using it) and mixed for the kind of delivery required.

The best way to learn is to call up a few sound facilities and “take the tour”. If you approach them professionally you might ‘luck out’ and sit through a mixing session. That’ll teach you tons.

For a home or indie setup, I strongly recommend Yamaha monitors like this one.

Either go ‘all out’ and get a full setup, or go bare bones with the Yamaha. For cinema you will need to mix in a large facility, or you’ll never know what it’s going to sound like.

Hope this helps.

https://wolfcrow.com/blog/ – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

Here’s a thread about this subject: https://www.dvinfo.net/forum/photo-hd-video-d-slr-others/493552-60-day-time-lapse-dslr.html

I strongly recommend full manual mode, manual focus, with exposure bracketing. The bracketing will help you with the day for night scenario.

The 5DIII doesn’t have a decent intervalometer, so you’ll need something like this one.

Shooting this way gives you balanced images that will make post production a lot easier.

Hope this helps.

https://wolfcrow.com/blog/ – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

The signal is transferred via WiFi – most modern displays have in-built wi-fi. First check if your monitor has it. If yes, check if the specifications match.

If no to either, you could use an HDMI receiver like this one or connect a wi-fi receiver/router to a laptop, DVD player or Media player and connect that to the monitor.

It’s not hard.

https://wolfcrow.com/blog/ – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

Look no further than the Teradek CUBE-150 1 channel HD-SDI. It has a range of 300 feet (90m) and you don’t need anything else – except HD-SDI cables.

You can also stream live on the internet and record H.264 directly on a laptop or hard drive at the same time.

Also, you can stream the video via wifi to the mobile phones of the clubbers…cool?

Hope this helps.

https://wolfcrow.com/blog/ – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

Jeremy, you’ll want the camera with the best resolution for motion tracking.

If you are good at it, then you will be frustrated by the line skipping resolution from DSLR cameras – stay away from it – unless you are using something like Nuke or Boujou, etc that can handle poor video.

Take a look at the Sony FS100 – and shoot at 50/60fps to eliminate 24p motion blur – the footage can then be retimed to 24p or whatever the delivery frame rate is.

At this budget the temporal resolution from the FS100 and its pixel pitch resolution should offer the best bet. Hope this helps.

https://wolfcrow.com/blog/ – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

Nothing wrong at all about AVCHD… it’s just H.264 in another ‘color’ so to speak. The FS100 has almost everything you ask for, even an HDMI out for uncompressed broadcast quality footage when the budget allows for it.

The one thing it lacks is a good form factor, for which the EA50 is a good replacement.

The E-mount can take many kinds of lenses, not just EF lenses. The only mount ‘better’ than E is the Micro 4/3 mount on the GH3 – which can practically take anything you throw at it!

The EA50 is very similar to the FS100, and I wouldn’t pay heed to people saying its sensor doesn’t compare. If the FS100 has similar quality to the F3, and NEX-7 is as good as the FS100, won’t the EA50 be good as well? I have used and/or owned Sony-JVC-Panasonic-Canon gear for 10 years now, and none of them have really failed to do what they promised. Try not to fall prey to hype.

https://wolfcrow.com/blog/ – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

What you need, my friend, is the new Panasonic GH3, which will be announced soon and probably hit the shelves in a few months.

Panasonic have been twiddling their thumbs for months now so I’m figuring they have their inventories in place. I would also love to see the new AF100, whenever that comes.

I think you should revisit the FS100 again. Except for the lack of ND filters it’s a solid camera with some great images and cinema curves that are as good as the F3.

I use the C300 a lot, and I’m not a fan of the Canon look. The C100 can’t be any better, and the ergonomics suck.

I’d written a post a few weeks ago that might give you some ideas: https://wolfcrow.com/blog/comparing-the-best-entry-level-cameras-for-the-indie-filmmaker/

Hope this helps.

https://wolfcrow.com/blog/ – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

YUV or Y’CbCr is not a color space – it is the chroma subsampling applied to video – a kind of encoding. It’s the same thing as 4:2:2.

The color space of HD video is popularly known as Rec. 709.

https://wolfcrow.com/blog/ – Workflow information and support for filmmakers, photographers, audiographers and videographers.

[Sareesh Sudhakaran]

Which camera are you using, Dmitriy?

https://wolfcrow.com/blog/ – Workflow information and support for filmmakers, photographers, audiographers and videographers.