Seth Estrada
Forum Replies Created
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This may be different with the Panasonic AF100 and Sony FS100, which are by definition camcorders, not DSLRs. They’re a bit pricier though, and may not benefit your shooting, other than the low-light capabilities.
As far as the artifacts you mentioned: moire is practically non-existent on camcorders from Sony, Panasonic, and Canon, but shows up quite literally in every last current model of DSLR.
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This is an old sentiment, shared by many. However, it’s not true. Vegas has been a pioneer in so many areas, not the least of which is the YouTube generation, which will out-buy any number of post houses combined. That cash is furthering development of Vegas Pro. I have yet to read as much for Premier or FCP.
But speaking of post-houses, have you heard that Vegas supports the OFX plugin standard? Did you know that numerous high-end FX plugin manufacturers already have OFX plugins that can be used in Vegas? Did you know that Magic Bullet isn’t the only FX game in town?
No, the sky is not falling. Just make your choice, and try to be as happy as you can with the next suite of problems you purchase, whether it be Apple or Adobe. Non are perfect, and none are going away.
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I can see your result, that doesn’t tell me exactly how you got there. It could be a problem with the compositing mode you’ve set for the track, a setting you’ve over-looked in the plugin, or something else entirely. It will help to see your FX settings and track settings. You could even send the .veg file over.
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Which plugin are you using? Please post a screenshot of what your settings are there.
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Thank you for the clarification Shawn. To add much-needed further clarity to any argument inherent in your post: exactly NONE of the current DSLR’s allow for usable uncompressed 8-bit output, regardless of the capture method, be it internal or otherwise. The recording mechanism is irrelevant: DSLRs cannot deliver this without hacking. And even then, the results are mixed and do not overcome other limitations inherent in DSLR image quality.
Additionally, the various flavors of h.264 are still highly compressed, long-GOP codecs, regardless of the wrapper they use. And none of that has anything to do with a comparison of uncompressed vs compressed signals.
Again, when you need to shoot uncompressed for better flexibility in post, the AF100 and FS100 will give you that option, without having to hack your hardware to unlock this functionality. Further, these cameras do not artificially distort your image through immature super-sampling algorithms as all current gen DSLRs do [excluding one crop mode that one DSLR, the Panasonic GH2, shoots in, which is hardly the only mode you’ll want to use all the time]. There is no DSLR at any price that can deliver that.
To the OP:
Again, best of luck making your decision. It bears repeating: consider seriously buying the best you can reasonably afford. You won’t ever have to apologize for giving the best image possible, and may even find yourself AC’ing or DP’ing on nicer shoots because they rent your equipment. -
This webinar was recently produced by Sony Creative Software. It should answer all of your questions:
https://www.sonycreativesoftware.com/keyframewebinar -
1)Dual layer DVD is totally up to the task of playing back high data-rate video. I’ve delivered 720p at >12 Mbps and had it play back perfectly on consumer Blu-ray players.
2)No. Match your source settings: 720 30p [29.97]. And be more generous on the data rate, if you have enough disc space, or consider splitting the deliverable into 2 discs so you can bump up the quality. Otherwise, what’s the point of delivering HD at the bitrate of standard def?
3)Try to stick with source footage settings all the way through to final output to avoid re-timing artifacts. If you find that for some reason the discs won’t play, then go back to your project, adjust the settings to PAL-compatible settings, highlight all media, and select the “Disable Resample” script, to get a more clean fit into the new timing.
4)Again, try to stay native to the source footage.
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On the one hand, I agree with Mark. But on the other hand, I presume you’re asking about cameras precisely because you either want to DP or shoot a lot of your own material, in which case you’ll need unfettered access to professional grade tools to learn during all of your unoccupied waking hours. By that token, I think it would be a grave mistake not to get a camera. IF you’re attempting to shoot your own features in-between your day job, Read the DV Rebel’s Guide. Stu M. gives the same advice.
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The AF100 and FS100 will both let you capture footage uncompressed when you need to. No DSLR currently allows that. You’ll get a lot more mileage out of that uncompressed signal than h.264 at any bitrate. And neither of these cameras does line-skipping or post-lens image distortion like moire [not that’s been widely reported anyway]. Besides, the better your reel, the more paid work you’ll do in-between the stints at your ‘day job’.
I’ve never regretted getting the best I can reasonably afford, and it seems you can reasonably afford the AF100 or FS100 right now. So don’t hold back. Even if you have to rent glass for a little while, it’s not like you have the budget for really killer lenses quite yet anyway.
Good luck with the decision.
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Yes and no. You can always add a weight directly beneath your camera to ‘beef it up’, so to speak. Then you’ll also be well-practiced for the time when you use a slightly larger and heavier camera.