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Found 12 results

  1. Hi all, Hoping someone can help with this edit workflow question: I currently shoot video on Canon DSLRs (in H264 MOV format), and edit on a late 2009 iMac (2.8ghz i7 processor, 16gb memory). The films I make are mainly for web rather than TV broadcast, and beyond basic colour grade / tidying up, have minimal effects added (no CGI). Until recently, I used Final Cut Pro 7, using FCP's Log & Transfer function to import and edit footage in Pro Res 422 format. Having just moved to Premiere Pro CC 2017, I'm trying to figure out the most efficient workflow with the best resulting image. Should I import and edit in native H264 MOV? Or ingest and edit as either Pro Res or DNxHD? If Pro Res or DNxHD, what's the best way to ingest (or import / transcode)? I've been reading mixed things via Google; mainly Adobe-related articles explaining a native workflow, vs various articles sponsored by transcoding software companies, saying that transcoding will have a better result. Any thoughts would be much appreciated. Thanks! Elliot
  2. HELP! MPEG Streamclip won't touch it, Final Cut Pro 7 won't think about it... how can I convert my Panasonic GH4-created 96fps mp4 files to work within the FCP7 environment? Thank you all so much for any insights you can provide!
  3. Hi guys! I'm an anamorphic newbie and just bought the SLR Magic Anamorphot. I'm planning on using it with my BMCC, BMPCC and also for timelapse shooting with my Canon 5D Mark II. I would like to know the details on how to stretch images and setup the correct aspect/pixel ratio on AE CS6. My normal workflow for timelapse editing is as follows: Shoot RAW images with Canon 5DII Deflicker on LRTimelapse Color correct on Adobe Camera RAW Import to Adobe After Effects CS6 to reframe, pan, zoom Export Pro Res HQ 1920x1080 Edit on FCP7 I would like to take full advantage of the 5D full frame and stills aspect ratio and output 2.5k and Full HD (horizontally) footage. I will probably edit the timelapses directly on Adobe After Effects. Thanks in advance for your help!
  4. Hi, I'm new to this forum, after a while of reading I decided to put my first post. I have always worked with the Canon 60D, and premiere pro CS6/CC. Now I bought Panasonic GH4 and i'm a little lost with the workflow. My PC: i7 3930k Asus P9x79 WS GTX 670 2GB 32GB RAM 1600 Storage: C: 256GB Samsung 840 PRO (Os / App) D: 2x Caviar Black 1TB RAID 0 (Media / Projects) E: Caviar Black 1TB (Export ) F: 256GB Samsung 840 PRO (Media Cache) G:Caviar Green 1TB (D: Backups) H Caviar Green 500GB (Music, movies, etc.) Dell U3014 I tried to work with 24p Cinema 4k. Goes well, but applying any effect, it is very slow. When I export to h.264 4k 24p, takes a long time, the CPU goes only to 27% and the RAM to 11GB ... I do not know why not use more. Here are my questions: 1. Which would be the best workflow for working with 4K files? Proress, DNxHD ...? Proxies? The final product will almost always exported at 1080p, only in some cases to 4k for now. So if there are two workflows would seem interesting to me also. 2. After the editing, workflow to move to color grading in Resolve? 3. Better combination for external backups? Any other advice will be of great help. Excuse my English. Thanks
  5. I have done some quick trials with RAW with 5d mark II. I have used raw2dng to create the dng sequence from the raw footage. I then modify the raw sequence with photoshop Cs6. This works well. When I go to import the sequence into AfterEffects I get the raw window popping up- here's where I am stumped. This raw editing window that comes up is an older version of raw editor, older than the one I modified the sequence with in PS. And, the footage looks way darker- like 2 stops or more under- so I am always tempted to tweak it again. It often looks over processed/corrected and grainy then, once it's in AE. When I just import it as is with no correction in the raw editor during the AE import it ends up looking better, but still too dark. How do I update the raw editor in After Effects (CS5) to match the photoshop raw editor? Am I having a color space issue or something like it? Why does the footage that looks good in PS not look good in AE? the movie file that raw2dng creates from the raw file is also very dark. thanks for any help you can offer. opening a dng file from the sequence in PS- the images look good and the exposure seems pretty right on.
  6. Hi, Over the weekend I shot a short film using the Magic Lantern raw hack on a 5D mk III. Everything went perfectly and now I want to make proxies for the director to start his edit. The problem I'm running into this time is spanned 4gb+ files. I used automator to rename all of the files in each card with a naming scheme of r001c0001 and so on. R for roll and C for clip. When I dump all of these files into RawMagic it only see the takes that are in smaller than 4gb or unspanned. I assume by messing with the file naming I've broken the link between the spanned files. Can anyone think of a solution for this problem?
  7. Hi there   I'm thinking of getting a 50D, but I'm a bit worried that I don't have Adobe Photoshop/ACR, Lightroom or Premiere, which seem to figure heavily in people's workflows. Has anyone tried processing ML raw video outside of the Adobe ecosystem? Nothing against adobe, I just can't afford to invest in a different platform right now.   I have Aperture, FCPX, and DaVinci Resolve Lite. Anyone have any suggestions for what a non-adobe workflow might look like? I am going to be at a disadvantage compared to those in adobe-world? :-)    Andrew, does your 50D raw video book cover non-adobe workflows?   thanks    
  8. While the kids were napping I left the gf behind and took off into the woods for an hour. I didn't check my batteries before leaving so I ended up with less material than I wanted to. Anyways, this is a Canon raw workflow test. I came home with around 67gb worth of raw files. At first I wanted to go the Resolve way, but changed my mind and took the native Canon Raw files straight into Premiere CS6. This is possible because of the Ginger HDR plugin. You don't have to use the plug in, just have it in the folder system. My conclusion is that ML has come a long way. I don't think post workflow is an issue anymore... when you can deal with native files, then what's the problem? The things that bugs me at the moment: Lack of sound recording, battery life, card transfer time (47gb took 40 min with FW800), and it wont get any faster because you can't read the cards faster than 100mb/s anyways. But I'm pleased. You can push and pull the footage a lot more than the .h264 codec. Detailed description of the workflow and gear on the Vimeo page for the video.   https://vimeo.com/69840853
  9. I am new to the anamorphic arena - and I have some questions regarding workflow for you experienced and professional anamorphic guru's.    Firstly, here's the gear I'm using:   Canon 5D Mark 3 Canon 85mm 1.2 II ISCO 1.75x   Editing with Final Cut Pro 7   My first question is:    Aspect Ratio:  What is the correct aspect ratio for a 1.75x ISCO.  I'm confused as to how to calculate 16:9 with a 1.75x zoom... does this mean that my aspect ratio is 2.35:1?    My second question: What is the proper workflow in order to edit anamorphic footage in fcp?  For example, once I've exported the H.264 footage recorded at 1080i24p into FCP, how do I squeeze the footage in order to use all the precious pixels at 16:9 with a 1.75x zoom?   My third question: Focusing.  Is it normal to not be able to focus my prime lens (manually) when the ISCO is attached?  It seems that I have to remove the ISCO lens in order to adjust focus.  Maybe there's something I'm missing with regards to the electronic mechanisms of the camera/lens that don't work with the ISCO?    I have more questions, but these would be incredibly helpful if someone can help me with these questions.    Thank you in advance!
  10. EOSHD BMCC Shooter's Guide? Andrew Reid, I'm waiting for your EOSHD BMCC Shooter's Guide, as you did with the Panasonic GH2. That will reduce the learning time curve of a lot us, newbies to raw workflow.
  11. Hi, I'am new to the DNG file format. Is there anyone who can explain me the best way to import the footage in Resolve 9. I only have Avid 6 and Resolve 9 on my computer. I suppose you can't import the files in Avid without first making proxys of it, but how can i make proxy's if avid can't read DNG. Thx,
  12. Hi, I m about to purchase new Mac Book Pro with Retina Display i7 Quad Core 2.6 with 16GB RAM, but only with 256 SSD. This computer is already way above my budget, but as I m planning to buy BMC camera, I need something fast to edit RAW footage. My question is would this computer with Thunderbolt External HD (my internal SSD would be to small) be enough for editing RAW dng footage (if not completely smooth, than at least bearable editing)? Thank you very much. P.S. I have been editing mostly on FCP 7, and I know that I need to make transition to Premiere C6 in order to edit RAW footage.
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