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Rosebud

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About Rosebud

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    London - Munich - Berlin
  1. Hi Ed, thanks for the fast reply. That sounds like the most obvious thing to do right? I was first advised to take the MTS files of the card and then convert to movs. Is that the wrong way then? I then learned that once you have done that, you cannot use the log and transfer on FCP as it needs all the other info on the card, which I cleared after taking the files off initially. So Ed, if i try that now, will that way make the file sizes realistically useable? Thank you :)
  2. Hi all, hope there is a simple answer to this, usually there is... I shoot with a GH2 and several GH1's, now for my corporate clients and find them to be awesome. Problem: When converting or transcoding MTS files to Movs, the end file is a huge size, anything between 2 - 6 GB Question: Are these the files you then directly use within FCP after converting them to movs (I'm using FCP 7 by the way), or do you then make them more FCP friendly by taking them down again to a workable size. I ask, as these huge sizes are just too slow to work within FCP, simple cuts are always bri
  3. "Film is a dog: the head is commerce, the tail is art, and only rarely does the tail wag the dog." - Director Joseph Losey Nothing more to add.
  4. Well I have already ordered mine  :) [url=http://www.inicons.com/]http://www.inicons.com/[/url] [img]http://farm8.staticflickr.com/7013/6633534171_ee8ca08a45_b.jpg[/img]
  5. Between that and ole Bloomy's recent comparisons, is there anything more the GH2 is not challenging and conquering. This puppy just keeps giving and giving.
  6. [i]I think Brett sums up what anamorphic gives you as a cinematographer. It supercharges the attractiveness of the rule of thirds and gives you more room to play on the emotions of characters, isolation and dead-space. In other words, it is simply more dramatic.[/i] Unfortunately, this is way too simple to accept as a summing up, as you can achieve the above without being anamorphic. When we deem what is cinematic, the reality is never recognised in what is cinematic to begin with. Our own field of view is taken for granted, slap a crop in front of your eyes and suddenly the field of
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