6 posts in this topic
By Julien Miscischia
Hi fox ! This is my last edit, a short film about freestyle snowboarding. A beautiful day in a marvelous park (La Clusaz) with the two killers Matteo Cuny and Nicolas Palladio. Top of the pop, we finished with a beautiful sunset. So glad and happy to have shot this.
Comments are welcome dudes! Some pics of the session can be found here : http://www.switchmag.fr/decouverte/2015/11391-session-park-a-la-clusaz-matteo-cuny-nico-palladio.html
By Sebastien Farges
Hi anamorphic friends,
I'm working a lot these past months so I post less than usual ;)
Here is a teaser of the new album of Arthur H, a famous french singer. It was done before last summer, shot on GH3 + my baby Hypergonar 1.75x on my Qioptiq 35mm f1.6 MeVis-C C-mount lens.
Badfully I didn't have the GH4 yet ;)
My actual work is a 26mn Making Of a long feature movie, shot by me in 4K anamorphic in Ethiopia last november. Stay tune.
I'm new to the site and new to video work, but I've been lurking around the forums and Review Articles for a while now, trying to figure out what camera I should pick.
While totally new to serious videography, I've been doing photography and very light video on the side for about 6 years, so I wouldn't say I'm blind to the more enthusiast thresholds of acceptable quality.
With that in mind, I've narrowed it down to two models. Well... one. Two. Maybe just one. Possibly two.
Currently I'm heavily leaning towards the GX7 as:
- I assume focus peaking for someone that isn't trained in the art of manual focusing would be nothing short of magical(?).
- I will not be needing high quality external audio (for the foreseeable future) (I'll probably mostly be doing artsy montages with music on top,heh...).
But I've seen the GH3 recommended over the GX7 for video quite a few times because of:
I have read Mr. Reid's (predominantly positive) thoughts on the GX7 and that strongly weighed into me currently leaning towards it.
My question is:
Has anyone who has tried both the GX7 and a more codec-competent (higher bitrate) solution ever been strongly frustrated with the former at any point?
Like going "THAT WAS THE PERFECT SHOT! GOD HIMSELF PARTED THE SKIES AND UNLEASHED THE MOST HEAVENLY RAYS OF LIGHT THAT DUCK HAS EVER SEEN. YOU HAD - ONE JOB! " when you came home to realize that the water ripples in your perfect shot created the occasional blocky codec artifact?
I guess my question can mostly be boiled down to "Bitrate Vs. Focus Peaking". I hope it isn't overly redundant.
Any advice and personal input would be really really appreciated. Like...
...this much > [ ]
I recently shot a music video with the GH4(in 4k) and GH2(1080) all the footage looks really good in preview playback but I notice a Gamma change with the .mov GH4 files if I open in FCP or VLC? I've had this problem with RED files and I just continued editing with the darkened gamma change because the files seem to correct themselves upon export. With that said I have a couple questions with how I should continue with this project or if there is a better way.
My workflow plan right now is to Transcode first all of AVCHD GH2 files with 5dToRGB to PRORES 422HQ
After that I'll import the PRORES files into FCP and drag a clip to the timeline and match the sequence settings to the clip because the final deliverable will be in 1080.
My question is with the 4k footage and if this workflow makes sense? Should I import the .mov files directly into the 1080 sequence? or should I transcode the .mov files to 4K PRORES? I know importing the .mov files will slow me down because I'll have to constantly render but I don't want to lose image quality in conversion.
My concern is the gamma will change and I wont know the true image quality until after I export. I just want to keep the images looking like they are.
What would be some of your workflows when working with the same type media?