animan

On 9/24/2016 at 11:48 AM, omega1978 said:

No hunt,but the transition is very fast and lose the tracked face when the move sligtly or turn the head.ok,there was not very good light condition.

i have found nothing to chance in the menu about transition setting.only intelligent AF Face Tracking

The 12-100 is available in november,for the em1 nothing

Face detection works really badly on GH4 also, other modes might be improved?

theres plenty of european shops with the crane for sale (amazon uk, de for example)

well, if youre lucky they are nice and pay you i guess but insurance is big business, they have teams of people whose job it is to find ways of not paying out any money, and tonnes of small print to help them do their job efficiently

most insurance that covers theft wont pay you anything in case the bag is unsupervised or in a place where it can be taken without you noticing

9 hours ago, Hans Punk said:

Otherwise this may happen again, statistically

on the other hand, statistically you are more likely to spend more on insurance than the value of stolen stuff in your lifetime, otherwise the insurance industry would cease to exist

Ive had this show up in Premiere exports, dont remember how I solved it sorry!

Basically you're losing the quality and advantages of the balanced cable (the main reason to use XLR) when you connect the adapter. (You can search balanced vs unbalanced cable for plenty of info)

Other than that you should have the same results as using any other mic or cable with a minijack on the end depending on how well made/shielded the adapter is.

The weak points in the signal would probably be the camera or zoom preamps more than the type of cable/adapter

You could still try as an experiment using your SSD for preview files and putting media on a big USB drive..

WHat kind of files are you editing? Transcoding to an easier format is always a possible solution to speed things up.. Are you having trouble before or after adding effects?

On 5/11/2016 at 7:25 AM, bonesandskin said:

I have been using Samsung 850 Pro 1TB SSDs in Inateck USB 3.0 enclosures (the enclosures seem to affect performance of the drives) for editing on a MacBook Pro w/ 16gb RAM. It is the only thing I have found that can keep up with 4k/hold up in real time editing (though I do often use 1/4 or 1/2 resolution in Premiere to keep things snappy). The EVO series drives seemed not able to hold up in my experience.

Has anyone else found something that works well which is also portable?

Has anyone tried the Samsung 950 PRO Series?

Maybe obvious but are you using just one external drive for editing? At least 2 is recommended with one drive for media one for preview files etc.. (2 slower drives usually faster than one fast one)

5-10 sounds about right! 50 not so much..

On 4/14/2016 at 10:11 PM, Fredrik Lyhne said:

2. Only problem is that it's not working for me and at least one other commenter on the video that describes the procedure! The motors are working to hard causing heavy shakes, rolling shutter and noise. 

Seems like they removed that video showing how to swap the motor side, kind of silly if it doesnt work as its in all their marketing materials, why do these companies insist on putting the motor on the wrong side!

DS1 is still looking good..

4 hours ago, sgreszcz said:

Thanks, I was actually hoping I had a bad copy as I love the lens for stills as well as on my E-M5 II.  Just would be easier to go out with the 35-100/2.8 on a panasonic body matched up with my LX100.

Check if the lens is updated with latest firmware, it helps with the issue

I found switching to 70% brought a huge improvement in general quality for me, focussing on people instead of some small patch of sky in a window in the corner of the frame (for example) I think gives much better results..

70% zebras plus simple histogram is also a great combination

5 hours ago, cantsin said:

Since you need a paid account for providing password-protected videos, and since YouTube doesn't have a comparable feature, this is what Vimeo now seems to be focusing on, and makes its money off.

No need to have a payed account to password protect on vimeo..

Maybe stop the lens down a bit, its looking really soft

14 hours ago, Ebrahim Saadawi said:

Whole film on a 24mm, yuck. It needs a 35/50mm for the close-ups

Theres no cuts, the whole film is shot in one take on one camera, very good film !

H4N on the camera is not really a good idea, without a shockmount youll hear your hands every time you touch the camera to change something.. Honestly I think it will be hard to beat your lavalier+H4N results with a camera mounted mic (unless you had a very cheap lavalier?). For dialogue or interviews a camera mounted mic will unfortunately almost never give satisfactory results. One option could be a minijack extension cord and then put the VMP on a small tripod or gorillapod as close as possible to the speaker out of frame?

One other thing to keep in mind, a shotgun mic (like the VMP) is sometimes the wrong choice for indoor shooting due to the way the mic picks up sound.

Maybe you can attach a short clip to listen how bad the signal:noise ratio youre getting is?

37 minutes ago, dvcrn said:

Took some more time to experiment with the combo. No matter what I tried, the hiss was still too strong for me to consider the audio "clean". The best results were with the +20db settings and -10db inside the camera. Then lowering the volume in post. The hiss was a lot more silent, the audio "usable" but still not at the quality that I hoped for when I bought this microphone + camera. 

I have a older H2N laying around and taped it to my tripod for a little test and yep - the audio hissing was completely gone. Even with no boost on the microphone at all. Sadly this combo is not usable for the kind of on the go stuff that I planned with it. 

Is there anything else I can do? What are some good cameras out there with good preamps? (Preferably MFT / E-Mount with IBIS and articulating screen)

You write youre an audio beginner but apologies if this is obvious, you have to keep in mind that simply buying a VMP and putting it on top of the camera isnt a magic key to good audio, audio is always about putting the right mic in the right place (most of the time as close as possible to what you want to record)..

(The silent room that you mentioned can also emphasise the hiss a lot more unless you have a strong source like a voice close to the camera)

(PS I have no experience of EM5, possibly there could be some extra noise related to the IBIS?)

+20db on the mic, camera input level down, auto gain control off.. 

On 1/25/2016 at 6:05 PM, Julian said:

I didn't receive the money 28 days after my claim. 

I have received it now. I cc'd Panasonic UK Customer service, they said they'd forwarded it to a manager at the catchback company. 15 minutes later there was 280 EUR on my PayPal account  

Hey Julian, which email did you use? I havent been payed either..

http://www.forbes.com/sites/kenrapoza/2014/03/06/top-10-countries-where-justice-prevails/#5bef3eea6b6c
http://www.theguardian.com/us-news/2015/feb/24/chicago-police-detain-americans-black-site

I think you need to wait 28 days from the date of purchase and up to 28 days from when you claim. My serial number was marked as already submitted but I called but they said it should be ok

Any results or feedback about success in getting footage without 'the bounce' would be great (Im curious how much of the bounce in online videos is related to poor balance or walking technique?)

How does the weight feel?

All big announcements are like that, from 'the best thing in the universe', to 'oh my god what a pile of shit' but finally settling on 'a potentially useful interesting new tool'

thats pretty ugly