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sina_html

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About sina_html

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  • My cameras and kit
    eos m
  1. I think all of us are looking for such a dream camera
  2. I usually deal with this situation, a lot of clients want a version for social networks. I've made 5 minute videos under 20 MB a lot. I use Handbrake to re-encode a high quality master from Premiere, my check list goes like this: 1. lowering the resolution of the image to 720p or even 480p 2. making the sound mono and lowering the bit-rate as much as possible depending on the content. 3. In Handbrake, there are two encoding modes, constant quality and specified bit-rate, with constant bit-rate, you can specify the size of the output file quite accurately but constant qualit
  3. It's a great question, I personally use Adobe Encore, the tool set is enough for what ever I imagine I would need to do but I'm not happy with the quality of mpeg2 encodes from Adobe line of products (Premiere, Media Encoder, Encore) so I would be happy to try something new. my Ideal solution would be a good mpeg encoder in combination with Encore.
  4. Can anyone else tell their experience with UHS II (not V rated) cards?
  5. Just tested a short clip last night with resolve studio and it worked fine exporting a 1080p. didn't tried exporting anything else. My premiere doesn't even import the footage, it just hangs at import dialogue box.
  6. I own a GH5 and work alongside friends who use A7S and if a6300 image and dynamic range is anywhere near the original A7s then I think going from a6300 to GH5 you will feel a little disappointed in amount of noise and DR. I dont feel comfortable going above iso 800 and 1600, specially when my footage is compared to A7S, in iso 1600 and 1300 you really dont want to under expose and then you may need to pull down shadows in post to hide some noise. low contrast looks really dont work for me in those high iso settings. It is always nice to have a million stops of DR but it has never bee
  7. For me, magic bullet looks is a good way to quickly try different looks and find some inspiration, and it has a lot of tools and it can be used subtly and professionally. Film convert has fewer looks, it has special profiles for major cameras so you get more predictable and constant results, but for me the best part of it is the film grain feature which is among the best ways to add grain that I've seen.
  8. In Premiere, select your clip in the timeline (or an adjustment layer above it if you work that way) and then go to the "Lumetri color" panel and in "basic correction" category, there is a "input LUT" dropdown, open it and select brows, find your cube file and select it. you are done. Also I recommend trying FilmConvert, with proper profiles of course. In my very limited experience with log footage, if you want to have accurate colors, you need to "transform" colors from whatever color space the log footage is using to your viewing or output format and it is properly done by the
  9. Hi everyone, I have searched around for high end architecture/real state showcase videos and so far, I haven't found anything interesting. So please point me in the right direction if you know of any interesting sources. Thanks.
  10. Please keep us posted if you find anything about a firmware update or fix for the adapter. Tnx
  11. I also experience this problem from time to time, I try to save my project before opening file browser from premiere. There are unresolved discussions about this on adobe forums as well: https://forums.adobe.com/thread/2134255
  12. I would also like to know the answer, and also your feedback on this adapter, any other issues?
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