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manueldomes

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Everything posted by manueldomes

  1. I'd like to give up my XL speed booster in good to excellent condition for an Ultra speed booster so that I can use the same adapter on my JVC camcorder and GH5. If possible in person in Germany (I travel a lot).
  2. I'm helping an NGO set up a community documentary project in the Philippines and was asked for recommendations for a (second) camera for this activity. They already purchased a Canon 77D kit for this so I think it's good to stick with the system - but I don't know my way around Canon at all :) I'd like to invest in a body and one more decent lens that complements the kit. None of this needs to be fancy - project participants are new to shooting and image quality is less of a consideration than ease of use and decent compression. Should be okay to use an entry level shotgun on it though. Another option would be a good compact which has a usability concept not too different from the 77D. Budget for this is around 600 Euros. Thanks in advance, appreciate your help!
  3. Hi @Mako Sports What are you thinking to replace the Manfrotto 502 with and why are you unhappy with it? Need to replace my ancient video head soon and the 502 was on my list... Thanks!
  4. Hi, I'm fiddling with some basic 360 content at the moment and while it seems like FCPX 10.4 offers everything I need for this, I'm stuck with how to properly use the 360 patch effect (to hide the monopod). Using the effect itself seems fairly intuitive, but every time after I've selected and applied the source and target areas using the setup mode, not only is the whole project's orientation off after exiting the effect. Worse, when I re-orient the clips to how they should be, the source (and target?) areas for the patch move as well, making the whole effort extremely pointless. Clearly I'm missing out on something basic here, so if someone could point me to what that is or where else I could get help, that'd be appreciated (skimmed through some youtube tutorials but nothing useful came up). Thanks! Manuel
  5. Hi all, Wanted to share some work from a current project here, most of which was shot on a GH5 in a run-and-gun documentary setting. When war between ISIS-affiliated extremists and Philippine government forces broke out in Marawi City in May 2017, most of the city’s residents expected the fighting to subside soon. Instead, the battle over Marawi lasted five months and forced half a million people to flee, with most of the evacuees seeking shelter in neighboring cities. During the height of the crisis last year, we began working on the independent full-length documentary House in Pieces, zeroing in on the stories of some of the scores of people that were internally displaced due to the fighting. Watch the teaser and get more information at the crowdfunding page for the project here (and do feel free to share it if you like our project, of course): https://www.indiegogo.com/projects/house-in-pieces-documentary-film-community/ Looking forward to comments and questions! Manuel
  6. That's the thing, it's too tight over the foam and too loose without it. I reckon I'm just gonna get the original Rode one
  7. I'd second the Tiffen recommendation. Got it again after breaking one a year ago (and it took a lot of force to break!) For docu work I can't imagine not having one. If there's color shift, I reckon it's the good kind - I like the skin tones with it.
  8. I'm on a mid-2012 MBPr and FCPX edits my 400mpbs all-i 1080p GH5 footage like a breeze without transcoding. Wonder if it could do the same for 4k, but I'm SD-card limited For the kinds of projects I do, everything is there, and very intuitively so once you've wrapped your head around it. Never looked back.
  9. Haha, thanks! I agree with the take on gaffer tape, but I think in this case the thing sits so loosely that macgyvering it just not justifiable
  10. Hi, Haven't been using my bundled deadcat all that much previously, but currently shooting a project with a lot of outdoor components. It seems the el cheapo one I got doesn't attach well at all to the mic and created a shuffling noise in one interview I did when it slipped on the microphone. So, I'd appreciate help on two things: - a model recommendation for a good deadcat for this mic (seems the original Rode one doesn't fit too well either and might create the same problems) - possible fixes in post for the interview. I have the RX6 plug-ins at disposal and already applied a voice denoise one which helped a bit. But I'm not experienced with finetuning the filters so far, so perhaps some kind soul would like to point me in the right direction (I can provide the video link via PM). Thanks! P.S.: While we're at it, would you recommend following Rode's website description and using +20dB on the mic while dialing down mic input level when the mic is attached directly to the camera? (speaking for the GH5 here...)
  11. Deleted the event, imported again through SendToX with flash drive inserted, files were found during import but still missing, went to relink files dialogue and they were supposed to be in all kinds of weird locations, but it did manage to import all missing files from the flash drive this time (though I didn't do anything differently from before). So my problem seems solved, but this doesn't seem overly reliable...
  12. So I had to edit a project in Premiere Pro CC, which I then exported as FCP XML, converted with SendToX, and imported in FCPX without any problem. I was aware that I would have to relink all media files from the project, so I plugged in the drive containing them, selected the folder through relink files dialogue, and it matched all missing files. However, despite finding all matches, it won't relink the files (with the exception of two or three clips, weirdly). I then consolidated all media files to the new library location on another hard drive, and FCPX started copying them all over. When I click "reveal in finder", it actually locates the media files, which are clearly there and correct (on the flash drive prior to consolidation and on the hard drive after consolidation). I'm at a bit at a loss, anyone have an idea what else I could try? Thanks!
  13. I recently got a Samsung Galaxy Pro Tab which I quite enjoy, especially for mobile assignments. I don't plan on doing any actual editing with it, but sometimes it would be good to be able to just split and trim clips on the go in order to send small and specific clips to an editor. That's all I want to do with it, while maintaining the original codec (I'm shooting on a GH5 and have started exploring the FHD 10bit all-I option). Any recommendations? Thanks!
  14. Thanks again everyone for the great suggestions here, Izotope's De-Clip plugin did indeed work really well.
  15. I guess it's a question of the focal length you need rather than anything else. The 40ish mm FF equivalent hits the sweet spot for most of my shots, so a non-speedboosted Sigma 30 would probably see a lot less use. While the Sigma is an APSC lens, I 've been able to use it with a speedbooster XL on the Gh5 without noticeable vignetting or other problems.
  16. I'm using my speedboosted Sigma 30mm 1.4 for 80% or maybe 90% of shots. I own the Olympus 12-40mm but find the Sigma's image a lot more appealing (and creatively, at least for me, there are advantages in using a fixed focal lens). So most of the time I round off the Sigma with the excellent Olympus 12mm f2 and a speedboosted Nikon E 75-150 f3.5 if I need the tele reach or a zoom shot. Pretty workable, light, and somewhat affordable setup.
  17. Yeah, shit happens - ideally, just once It's not too bad, just a little bit of voice creaking when the interviewee spoke at her loudest. Is there any way to fix/improve this, or do I have to live with it? Using FCPX and Audacity. Cheers
  18. I'm using my GH4 mostly as a B-cam on a tripod, primarily for a continuous interview recordings while I do handheld work on the GH5. I'm madly in love with the 10bit 422 VLOG recordings of the GH5, so just wondering what you guys would recommend for picture profile settings on the GH4 for best matching and adaptability? I could set it to VLOG of course, but I'm trying to avoid using an external recorder and monitor most of the time. So with internal recording I have this gut feeling that I might get more mileage out of Cinelike-D on the GH4. Thanks for your thoughts!
  19. True, though most of the time I find the cropping leeway quite sufficient. The last shot in my reel below was shot on a pistol gimbal with the 12mm and pinches in to a medium angle during the shot.
  20. Can't comment on this particular gimbal, but I have resorted to exclusively using my Olympus 12mm on my pistol grip gimbal for the same reasons stated above. Since I shoot on a Gh5 and usually output 1080p, I can always zoom in or crop in the timeline if necessary. No recalibration required and the setup is a lot less tiring for your arm than using a heavy lens.
  21. Ugh. Thanks. Will contact the artist and try to work something out.
  22. Thanks for the specific responses. So, meaning, we don't need to make the whole film available under the same license, just be able to provide the sound file? That's a relief...
  23. Not sure if this is the appropriate forum for my query, but I assume there are some people here knowledgeable on all things CC and copyright So we shot a short film containing, besides the original score, parts of two tracks licensed under the CC-BY-NC license, with one license having a share alike (SA) provision. I'm pretty confident that the non-commerical bit is fine, considering that it's a deliberately wide definition -- if, in the future, the film becomes commercially viable, we will contact the license holders to obtain commercial licenses. My first question regards the ShareAlike provision (defined as "If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original."). The track in question has some minor sound design (to simulate a small speaker and room environment) but is otherwise unchanged. I'd argue that this is not a remix or transformation in the sense of the provision, but I might be wrong, and would like to make sure. Secondly, what is CC's understanding of "You must provide a link to the license"? Are they referring to the URL of the license in question directly on the CC page? Thanks!
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