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fuzzynormal

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fuzzynormal last won the day on October 17 2017

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About fuzzynormal

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  1. fuzzynormal

    Mean IQ Of dpreview Members?

    "Mean IQ Of dpreview Members?" 100. Give or take 5 points.
  2. Heck, I once shot a feature on the HDV codec. Camera and codec are considerations, but, damn, they are so far down the priority list when doing a low budget film and you're just trying to make it happen. We've all seen great looking films shot on thin codecs and cheap cameras. How one shoots is so much more important than the tech. Be that as it may, I'm currently working on a feature doc with 100+ hours source and proxies. It all fits comfortably on a 4TB drive.
  3. fuzzynormal

    From 6d to GH3, is it worth it?

    Knock yourself out. Caveat: I was hired as a director and then ultimately didn't have that responsibility. Production drama silliness. So, not thrilled about the situation there or the final product, but you can see the footage. https://video.kpbs.org/show/reflect/extras/
  4. fuzzynormal

    From 6d to GH3, is it worth it?

    I shot plenty of docs on the gx85 for TV broadcast on PBS. Would recommend. BTW, shot 4K and mastered in 1080. It's perfectly effortless to do. Whats your editing platform?
  5. The "pro" that typically goes unmentioned, but I rather like, is the fact I can put all my source files, and all my proxies, on a single cheap ($99) external 4tb drive --and work easily with the proxies until the whole thing is about 90% complete. (I triplicate copy the drive for backup purposes) This is really great for budget editing. And, honestly, so much of editing work is perfectly viable with proxies. A good editor is concentrating on storytelling, not pixel peeping technical stuff, so watching the most pristine video during an edit is pretty irrelevant in my mind. Heck, I'll even do the majority of the color grade with proxies. Only when I'm doing the final tweaks do I turn off proxies and really analyze what the colors look like with the camera source files. Even then, it's just minor tweaks. Did they ever fix this? I was all set to go full-Resolve two years ago, but my test project crashed and burned during the "optimized media" stage and I just couldn't commit to the product.
  6. fuzzynormal

    Any alternatives to a G80/85?

    I shot 6 documentaries on the DMC-GX85 (silver body looks cool). It's a really cheap camera these days --and I really had no complaints about it. The IQ with fast lenses was more than adequate for me. And, since it's so darn cheap, it's a great value. BTW, if you want to go for a really cheap "c-camera" and 1080 is good 'nuff for you, then grab a GX7 for a few hundred bucks. I always thought the IQ out of that camera had some serious mojo. I'd buy and use that camera again for doc work if I was heading into demanding environments. It's so inexpensive it's practically a disposable camera.
  7. fuzzynormal

    Premiere Pro - The Shittiest Software Going

    I always encourage proxy editing simply because there's less processing stress on the computer. The less the computer has to work the less likely it is to crash or lag. At least that's my reasoning. Doing native format editing is okay for really short form projects, but even then I tend to go the proxy route simply because it allows the editing GUI to function more cleanly. FCP was always breezy with ProRes, but I'm not on FCP at the moment, so...
  8. fuzzynormal

    Olympus EM1-X Rumor

    Rumor sez it may have a built in electronic variable ND filter. Okay then. I'm listening Olympus. That's useful real world stuff right there. I'm beyond pixel peeping at my age. All these modern sensors do enough for me. Now, show me pragmatic features and you got my attention. Built in variable ND is exactly that. Allow me to lock in my SS, ISO, Iris, and Frame Rate... then control exposure with built in ND? Man 'o Man. That's a video shooter's dream. (at least this particular shooter)
  9. fuzzynormal

    Premiere Pro - The Shittiest Software Going

    Stuttering (maybe 5fps) playback of PROXY media to the point audio dropping out during said playback. These are 1024x540 res PROXY files that were created by the default PROXY settings in PP and created in Adobe Media Encoder. Bottom line, the new software couldn't playback those clips. My issues were happening on an older machine, but the older machine could handle the exact same project just fine in 2017. Once that project was loaded into 2019, nada. All settings were identical from the project in 2017 to the project in 2019, including all preferences. My conclusion after internet sleuthing was that 2019 just demands more processing overhead for some reason. Don't really care why this is, it just does. That's my experience and it caused workflow issues. So....that and some random unrecoverable crashes that I hadn't seen before made me nope right on outta 2019. I got better things to do than trouble shoot beta-level software. Couple of nice features that come with 2019, but without a certain level of workflow stability, just no no no. Yes and no. When I'm pulling and pushing the grade it's usually during the coloring stage --and proxies are turned off at that point anyway so you're seeing a pretty accurate rendition of what you're gonna get from your source footage+grade. Sometimes I'll quick color grade a proxy too as I'm editing; it holds together enough to do the basics. And, as mentioned, all fine tuning I do with the source footage anyway. Basically I'm saying that, for me, working with proxies doesn't really affect the coloring workflow. It does, however, make the basic editing so much more pleasant. Just scrolling footage in the thumbnails with no lag is such a blessing.
  10. fuzzynormal

    Premiere Pro - The Shittiest Software Going

    I am editing my current doc with PP and I'm getting it done. My anecdotal experience says it can handle large projects (100hr+ of footage) such as a feature length documentary, but with caveats. 1) You should use proxies 2) don't do any complicated compositing 3) use an old version (I went backwards and am using CC 2017.1.2) 2019 just about killed me for a week before I did a XML export and took my project to an earlier version of Premiere. Premiere Pro crashes, but I can't say more or less than my FCP used to. Still, PP just never feels "solid." There's no objective way to qualify that assertion, you just need to use it to get a gut-level feeling about it. That feeling has never been reassuring for me. Also, the way PP demands media to be loaded into a project in order to migrate sequences is, augh, such a pita! That mundane detail might seem trivial to the uninitiated, but to those of us trying to move edits across different editing seats it's absolutely horrendous.
  11. fuzzynormal

    Premiere Pro: My First Mistake

    Yeah, if you're transcoding the source video to a different format you can expect it to slog along a bit. Regardless of what the ultimate issue is, you really need to know if your editing sequence and export settings are appropriate for whatever work you're doing. If you have any doubt about what's "appropriate", the safest assumption to make is that you're doing it wrong and it needs to be changed...to...something else...
  12. fuzzynormal

    Voigtlander MFT vs Contax Zeiss FF

    I now use Voightlander primes on my MFT cameras. Before I bought 'em I often used vintage Canon FD glass on a cheap speedboster. Also used vintage Pentax and Nikkor speedbosted primes. The whole collection of my vintage glass was a weird hodgepodge of stuff. I kind of like the vintage look, tbh, but it's a different look for sure. You either like it or not. The Voits are great in that I could buy a set of 3 primes --and be good to go with visual consistency.
  13. fuzzynormal

    Replicating 'big camera' feel with small camera

    My initial handheld shooting experiences were with film cameras and electronic tube cameras with outboard 3/4" recorders. Heavy stuff. You can't compensate for mass. As mentioned, that's pretty much the solution. You want a certain look with handheld, make your rig balanced yet heavy.
  14. fuzzynormal

    What is the best workflow for creating mixed media proxies?

    No. PP adapts display settings automatically based on source video properties.
  15. fuzzynormal

    What is the best workflow for creating mixed media proxies?

    I just use their default cineform proxy setting. 1020x540. It works across various sizes and frame rates. Now, I'm currently working on a doc with so much footage that the proxy data size is greater than 700GB, so I don't know if you can get a ton of data to be functional across the "cloud," but if it's not a long project, maybe. I've never gone out on the internet looking for .epr presets, but I suspect there's got to be something out there.
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