WhiteCranePhoto

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WhiteCranePhoto
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  • Actually, the A7Rii is 42 megapixels... an even bigger difference. And the Epic's sensor is a little larger than a Super 35 frame, which makes it smaller than a 135 photographic frame. Thing is that if you're using a modern camera, especially a de…
  • Using a log curve (or not) is orthogonal to your data rate. Generally you want the highest data rate you can handle, because that determines how much of your original image you're saving for post work. If you're shooting in conditions that aren't t…
  • If you're using 2nd system audio, I'd recommend syncing it before editing . While it's possible to sync it up after editing, it's a lot more tedious. That way what you're editing and adding after editing is the soundscape. If you're recording audio …
  • A more significant limitation for detailed mattes and such is that the A7sii only outputs 8 bits per channel. Honestly, I think you'd be better off with a GH5 for VFX work, even though the sensor is smaller and it doesn't do as well in low light... …
  • The Autel Robotics drones are decent also. And if you can swing it, the DJI Mavic, though the heavy compression IMO makes it unsuitable for 4K capture; the high detail regions in most of the Mavic footage I saw looked like mush. 60 Mbps is just not …
  • This is probably the movie I'm most looking forward to seeing this year, even more than Alien: Covenant.  
  • IMO you can achieve professional quality work with HitFilm; it just takes practice and experience, getting familiar with your tools. VFX and compositing also require quite a bit of planning and prep to get the best results. Before you jump into in…
  • LUTs are basically transforms, so the results depend a lot on what you feed them. Like if you put chicken in a microwave it gets hot, but ice cream would melt. Input LUTs need to be camera specific to work predictably. You want to use an input LUT …
  • You're not going to find that much variation in the cameras on most consumer drones. There are a lot of them, but most of them are based on more or less the same camera, and usually with relatively inexpensive chipsets so the bitrates are low and th…
  • The new Aputpure Deity might be worth a look. You might also want to recruit a sound recordist... because sound is critically important.    
  • Maybe a used Rode VideoMic?
  • That is a good choice, you'll just to pair it with a field monitor. It's compact and has a great sensor, uses MFT lenses, making it fairly easy to build up a production setup around it with a relatively low cost.
  • AE amd Premiere are actually a lot less open than HitFilm... there's a reason that Baselight Editions had been available for Nuke and Media Composer for some time now, but not for Premiere.   
  • A BIG head start. It was one of the first budget-friendly compositors ever. Even though the competition is progressing more quickly in terms of functionality and features, software like HitFilm is new, and also broader... you can't really edit in Af…
  • It's because Adobe has been aggressive about bribing schools to teach Premiere and AfterFX to the exclusion of all else. Most of Adobe's market is short-turnaround, relatively small solo projects like weddings and such. Templates are a big help for …
  • Applications create and manage their own threads. They do so based on the number of physical and logical processors available. They can't determine which is which; you can know that you have 4 physical and 8 logical processors, but all of the logica…
  • That's why I'm now thinking of the Grade layer as a node in a nodal flow; it's very similar, except for the interface.  
  • Excellent. The community here is a major plus for HitFilm  
  • BTW, ProRes clip spanning for Red is becoming unnecessary... Red's fixing that by moving to a new file system that allows files larger than 4GB, so there's no longer a need to span ProRes. Big improvement.  
  • @RaghavBhat Audio is almost as involved as video. Think of recorders as cameras and mics as lenses and you'll get a sense of what I mean. And that's before you get into nuttiness like mid-side stereo mics that can record clean dialog at 1/4 of a mi…
  • You guys were lucky... my film school was a joke; the only actual requirement for graduation was that your tuition was paid up. I've found a few students from there that I work with on a repeat basis, but only 4 out of about 120 that I've met so fa…
  • "What Triem/Simon is suggesting is create a Grade layer, which effectively "bakes" all of the layers underneath into one, and the Grade can then be used as the Light Wrap layer." Clever! And that makes the Light Wrap effect act more like it would i…
  • Cool, I'll try the alt+drag approach. That will streamline this edit quite a bit I don't see any options for grouping or linking in the right click menu... unless I'm overlooking something... or looking at the wrong right click menu... ?  
  • On the complementary side, is there a way to group or link an audio + video clip once they're synced? Something that's also turning into a drag... I had to sync the audio and video manually because the speaker was speaking too quietly for the scratc…
  • Agreed. I've been viewing @Triem23's tutorials as well, and getting a lot out of them. And I'm editing a promo in HitFilm now, shot on an Epic-W. Of course,  had to transcode the slow motion footage shot in 4K raw into ProRes in order to import it,…
  • Hopefully, some people will benefit from this thread. Most however will probably focus too much on resolution.  Starting out now, I'd go for Black Magic or for a used older model Kinefinity camera. Of course,  I'm one of the folks who DID start ou…
  • Most of the big names have already made their big camera announcements, so the A7 series are just about all that's left for this year's NAB. And Red isn't even going to host a booth at NAB this year.
  • IMO @Triem23 is making a lot of sense here. If you're not willing (or able) to pay for it, then you'll most likely get better results using a camera that can record in higher quality codecs than with a camera that makes compromises like aggressive …
  • @Triem23 I'm with you, but somewhat optimistic Besides, most people using HitFilm for raw cameras would be using Black Magic, Kinefinity, or (soonish) Apertus cameras (which will also record CinemaDNG). Generally, I suspect that if you can afford …
  • @Triem23 CinemaDNG is an open standard, so hopefully that doesn't require licensing. I'd guess that Arri raw would, probably so does Sony raw. I'd guess however that KineRAW would require little more than asking for an SDK, and the Red SDK is avail…