[Tim Neighbors]

Is “Level Auto” turned off in the Input settings?

[Tim Neighbors]

Hi, I just purchased the GH4 as well (on backorder) and I’m looking for lenses for it as well. It’s primarily for video but I do still stuff on occasion as well. The Panasonic 12-35 and 35-100 seem like the obvious first choice, but I’ve read that they have electric focus rings. I really want a lens that can do both. Both of my canon lenses have a manual focus ring (physical stops, can be marked, etc.) but will also work with AF. I’m really hoping I can track down a fast zoom lens or 2 that cover the basic range of focal lengths with a manual focus ring that will also allow me to take stills with AF. Any suggestions? I may settle for one of the mentioned panasonic lenses if they ‘feel’ like a manual. I just tend to hate life when I’m using a silly electric focus ring for manual focusing.
Thanks!

[Tim Neighbors]

I just got my DMW-YAGH with the GH4 and now I want to get rid of it. It doesn’t seem very portable if you have to carry around an additional battery pack wired to your DMW-YAGH. It also greatly inhibits the articulation range of the camera’s flip-out display. …and it costs $2000. For that price it should have a built in recorder for audio, if not video too. But its just an interface. It does give you the ability to output 4:2:2 4K and HD …if you can afford to buy one of the external recorders and are willing to carry that around too. If you are using it in the studio however, it may be a necessary buy.

[Tim Neighbors]

Would you use the same setting for Vimeo?

[Tim Neighbors]

Thanks John! And thanks for replying to my youtube inquiry about motion tracking a couple weeks ago.

[Tim Neighbors]

Also, should I be rendering to PAL? This is ultimately going to the web, so I’m not sure it will matter.

[Tim Neighbors]

first thing I would do to this footage is to grab the ‘curves’ plugin and bump up the midranges. This is more of a luminance thing than a color thing, but I think this footage could use it cause their faces are little dark. If you bend the curve up a bit and then give it a slight “S” twist, grab the node and pull it to the left a bit, you can get slightly different ‘film’ qualities while brightening their faces a bit. Boosting the mids more gives it a bit of a glow. Just don’t go too crazy. Not sure a ‘glow’ is what the director wants.

[Tim Neighbors]

Perfect! Thank you!

[Tim Neighbors]

sounds great. How do I do I concatenate these avchd files (Canon T3i footage).
I tried dropping them on the timeline and rendering out an avc file with parameters that (to the best of my knowledge fit the source parameters)and it slowly starts recompressing the footage. and I tried rendering to a quicktime with MP4 encoding, and it just had an error and said it failed while dealing a codec.

I’m using Vegas Pro 10e. If this is the right approach, would you mind letting me know which template I should use …or what parameters should be set to?
thanks,
tim

[Tim Neighbors]

I resolved my problem and learned something new about Vegas in the process. When I was on my shoot, I switched from progressive to interlaced on the same tape, the captured without scene detection, so each tape was one large file. When I looked at the properties for each of my captured files, they register as either progressive or interlaced. Unfortunately one of the files was both but, since it has to be labeled as one or the other, Vegas had called that one Progressive (I presume because it began with progressive footage). So when the render hit interlaced footage from that source file, it mishandled it, treating it as Progressive footage.

solution: I rendered that entire source file out to an interlaced file and, from within my edit, I replaced the “progressive” file with the interlaced file (pointed it to the new file).

lesson learned: don’t switch between progressive and interlaced on the same tape unless you plan to capture with scene detection enabled.