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Found 16 results

  1. Well hello there EOSHD forum readers, I've just posted my short film, Axiomatic, to Vimeo. Shot with an older version of the 5D3 Raw hack without the audio component - remember when we had to reload the Raw modules each time after restarting the camera? Ah well...it still worked flawlessly and I cannot thank all the ML developers enough for what they unlocked. 5D3 raw is simply amazing. Spanish, French and English subtitles are available for whomever needs them and viewer discretion may be advised as there is brief nudity, violence and coarse language. However I tried to make everything as tasteful as possible. Hopefully you can take some time out of your busy day to view it and please feel free to share it with any of your friends or contacts that might enjoy some dark Canadian cinema. Kelly http://filmshortage.com/dailyshortpicks/axiomatic/
  2. Hello EOSHD forum First time poster and long time reader here. I wrote/directed a short film based on Aussie sci-fi novelist Greg Egan's story 'Axiomatic'. I shot this on a 5DmkIII with Zeiss and Takumar primes and the older 1080p ML Raw hack as the 4k option wasn't available yet. Please feel free to check out the teaser trailer on Vimeo:
  3. I shot this promotional video for the annual Tango Festival here in New Orleans. Shot with c100II and GH5, I really wanted to test out the improvements in the lowlight capabilities with the GH5 over shooting last years festival with the GH4, I was impressed! Edited in FCPX
  4. First online social media advert for J'adore Models Manchester, shot on the Sony A7SII in SLog3. Used the excellent Zeiss loxia primes, 50mm f2 and 35mm f2. Recorded full-frame 4K at 24fps, shutter lower than I would prefer due to room lighting restrictions but decided to roll with it instead of using LEDs to keep a cinematic look, pools of light and dark shadows etc. Looking to shoot more of these throughout the year and would love to know what peoples thoughts were... We are a boutique agency in Manchester. Our guys and girls have the freshest and coolest faces on the scene. We believe totally in presenting the next wave of unique, diverse and beautiful models to the industry and we’re about exceeding clients’ expectations, every time. jadoremodels.co.uk Filmed on the Sony A7SII Rig: Movcam A7SII cage Lenses: Zeiss Loxia 50mm f2 / Loxia 35mm f2 4K / 1920 x 1080 HD / 2.35 / 24fps Music: ASTR - Operate (Et Aliae remix)
  5. Latest work shot on the Sony A7SII with Zeiss Loxia prime lenses. Online commercial for a british watch brand. The film will be used for website/blog use and also taking 15 second social media cuts for further advertising. Also used the excellent 3DR Solo drone for the opening wide and SLog3 profile for further flex in the grade. Hope you enjoy! We are inspired by traditional British styling & tailoring and modern ink culture to create a unique blend of convention and edge. This makes our collection truly distinctive. Our products are all beautifully presented and strikingly original.Our obsessive attention to detail and passion for what we do has created…Ma-Ga London. 'It’s a real accomplishment to be yourself in a world that keeps trying to make you something else’ Filmed on the Sony A7SII Rig: Movcam A7SII cage Lenses: Zeiss Loxia 50mm f2 / Loxia 35mm f2 4K / 1920 x 1080 HD / 2.35 / 24fps Music: SLK - Ride (Prod - Embody)
  6. Latest work shot on the Sony A7SII in PP5 due to indoor light restrictions. Time-lapse work via the A7II, all with Zeiss E-Mount lenses. Loxia 50mm and 35mm, final time-lapse with the Zeiss Touit 12mm in aps-c crop. Cut and graded in FCPX. Love to know what people think? THFKDLF headed out to Bright Tradeshow, Berlin to showcase their upcoming collections and produce a capsule over the 3 day show. Here is what happened. Bright is an original platform which conveys a snapshot of modern lifestyle within an atmosphere relevant to its target group. Since culture is in constant motion, and the influences of its trends are always evolving, the element of its perception fluctuates between art, sport and music. Above all, authenticity is the leading component. thfkdlf.com / brighttradeshow.com / ae-sewingmachines.co.uk Filmed on the Sony A7SII Rig: Movcam A7SII cage Timelapse: Sony A7II Lenses: Zeiss Loxia 35mm f2 / 50mm f2 4K / 1920 x 1080 HD / 16:9 / 24fps Music: Ember Island - Can't feel my face Album - 3 Roses x Ember Island Cover Label: Non
  7. A music video that I directed for my band T-Slam.We're about to play a big concert with the Israeli Symphony Orchestra of Rishon, so we decided to have fun with the classical theme.Shot with the GH4, Natural profile, Helios 44-2 with a poor man's Speedbooster and a Lumix 12-35mm/f2.8 lens.Edited with FCPX 10.2
  8. Although the just announced Mac minis don't seem to be out in the wild yet, the geekbench developers have written an interesting article estimating it's likely performance: http://www.primatelabs.com/blog/2014/10/estimating-mac-mini-performance/ Although single-core performance is slightly improved over the 2012 model, as many predicted multi-core performance takes a massive hit owing to the lack of a quad-core configuration in the new lineup. There's no discussion of what difference Intel Iris (in the mid and top level 2014 model) will have over the 2012 model's Intel HD 4000 though. So which matters more to video editors, multi-core, or better graphics performance? (or, something else, like super fast storage, a thunderbolt RAID 0 or something?) Anyone have any thoughts on how say, the mid-tier 2014 Mac mini with Intel Iris would compare to a second-hand or refurbed quad-core model from 2012 (which would only have Intel HD 4000), for running FCPX? I'm talking about short, single-cam personal projects in FCPX (ie no deadlines, I can make a cup of tea while it renders), 1080p AVCHD and Prores 422, occasional processor-intensive effects like Neat Video NR or Optical Flow, I'm not needing or expecting anything screaming fast.
  9. I'm testing the most optimum storage handling method for extended shoots. Being on the road with minimum back up means. Here's what I found so far - and what questions are left. Would help if you gave your thoughts on this ... Set Up: - Macbook pro SSD 1TB - 2 x LaCie rugged mini 1 TB Storage method: - Edit on Macbook - Store project file on Macbook drive under Films - Final Cut Projects - Shoot more compressed AVCHD files - Store full copy of SD card in xtra folder in the dedicated Event folder in Final Cut Events - Run one Time machine back up copy on LaCie 1 disk - Make copies of the Time machine back up on LaCie 2 disk My idea is to store and edit until my notebook will be full. As soon as my notebook is full, I will empty the Original Media folder to safe space. I will restore the data from the back up disk to the Original Media folder when needed as soon as I'm in the situation to do. Tested this method and it works. Of course an accurate administration system will help. The other method will be to import the data again from the copy of the SD card. I didn't test this method yet but I figure it will be time consuming as I somehow think the reconnecting has to be done file by file. My questions are: 1. Can I run an automatic back up via Time Machine on back up disk 2 too or will this confuse the system? Therefore better refrain to making manual copies whenever there has been changes. 2. I guess the data on the backup disk will be compressed. Won't this harm the quality of my footage? 3. What reconnecting methods are best? Via Time machine or reconnecting via SD card? 4. General thoughts on my storage handling as described above are welcome! Thanxs!
  10. Here is the narrative music video 'Don't Stop' that I have directed & shot with my lovely BMCC : + few DNGs to play with : https://dl.dropboxusercontent.com/u/...tStop_DNGs.zip Lenses used : 21 & 35mm Zeiss CP.2 - Tokina 11-16 + Mikkro Nikkor 55mm AI-S Softwares used : Resolve 9 - FCPX - After Effect and Mocha Pro I would love to get some feedback ----- Produced & directed by MARC LINNHOFF - marclinnhoff.com Music by BROAD RUSH get the full version here : hook-up.fr/broad-rush-dont-stop/ Backstage photos from P-mod : flickriver.com/photos/p-mod/sets/72157633312056426/ Starring : Joffrey Schmidt - Clarisse Hagenmuller - Denis Jelly - Nina Schouler - Pierre Riff Camera & post-production : Marc Linnhoff Lighting : Ludovic Haas - Dom Pichard/P-mod Make up : Anne-K Lejeal - Elsa Parmentier Special thanks to Yoko Tsuji, Jacques Roth, Tsaki, Arnaud Masson, Jessi & Michel..
  11. I am new here and to 4K. I just got a GH4 and I edit in FCPX 10.1.1. Is there a tutorial available that explains the nuances and workflow for efficient editing of 4K for a 1080 output? Thank you Kent
  12. Hi Everyone, I'm looking into buying a new Mac for my video editing and would really appreciate any advice. Being budget minded, if I was just starting out I'd be seriously considering a PC, but I've never owned anything other than a Mac (G4 in 2001 was my first) - and I'm actually very keen on FCPX. So I'm definitely looking at Macs only. I've been editing on a MacBook Pro for the last several years, but it's now way too slow for my recently increased workload. Having done a bit of research, I'm pretty sure I'm going for a desktop setup this time - more bang-for-buck, and tbh my Macbook was plugged in 95% of the time anyway. So my choice is between: iMac 21.5"( customized: 3.1GHz i7 / 16GB RAM / GeForce GT 750M 1GB) iMac 27" ( customized: 3.5GHz i7 / 16GB RAM / GeForce GTX 780M 4GB) MacPro (the new one - lowest spec) I currently only edit AVCHD and H264 (G6 and D5300) - no RAW - and it will probably be that way for the foreseeable future. I would like the option of using Resolve in the future but it's not essential, particularly right now. The obvious answer is probably to buy the most powerful setup I can afford, but I think a Mac Pro is probably overkill, and with all the necesarry add-ons it's a bit out of my budget. So I'm primarily looking at the iMacs. In terms of screen size I'm easy - I'd lean slightly toward the 21" plus a 2nd monitor, but 27" alone would be fine too. I think it all comes down to processing power really ... As I say I'll be mainly running FCPX (and one thing I'd really love is for my new mac to rip through Neat Video rendering). Can anyone help with my decision? Will the extra processing 'oomph' (i7 and graphics card) of the 27" described above be of very great benefit? Ability to run Resolve smoothly would be a bonus but not an essential. One final note - all 4TB of my external drives are Firewire. Will performance suffer a lot from not having Thunderbolt drives, or is it feasible to get by with my old FW's until I can afford a few new HDs? Any advice or experience greatly appreciated - thank you!
  13. Personally moving on from camera discussions and now focussing on how to get the best grade from what I have. I know that it's preferable to start with a raw source, or at least flatly shot source if you don't have raw capability... but what I don't get completely, has to do with film emulating LUTs vs just doing all the adjustment/grading yourself from scratch. Have done several tutorials and can get a pretty decent final image with just using the color tools in FCPX. But, then I drop various LUTs on top of that and it often looks even better! Logically, it seems it'd be best to just get good at dialing in your look from scratch and not fooling with LUTs at all, but there are looks I've seen after applying various LUTs that I can't even fathom getting on my own. A lot of Brandon Li's footage lists the Osiris LUT for his MK3 raw footage, and some of his RX10 footage as well. Is it a waste of money buying something like the Osiris LUT package for use with a Nikon D5300 that isn't raw source? Or, am I better off just spending the time to get the color grade/style looking the way I want without using LUTs at all? Or, is it best to get the basic levels adjusted in FCPX for a generally good look, then stylizing with LUTs like Osiris after the fact? Or, applying the LUT style you want to start off with, and fine tuning the look via the color tools? Sorry for all the questions, but it feels redundant using both the builtin FCPX color tools AND the various LUTs. (PS. I know about Davinci Resolve, etc. but want to stick with getting it with just FCPX for now)
  14. Hi All, Here is my submission for this years Awards. Any further support, sharing via social media, general views and votes would be of great help! https://productionawards.sony.eu/videos/creative/ab2e516eac025fd3f5521bf1090d064b#.UysIFPs2KZQ Thanks for your time. Jon Edwards
  15. 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    
  16. Hi all, Wanted to show you guys my latest music video made for the dutch funkgroup Juicy Jones. Shot it on the last sunny day of the summer at a great location just outside of Utrecht. Great fun doing the shoot! I brought along a lot of gear but ultimately opted for simply filming handheld. Opened up my voigtlander between F0.95 and F4 most of the time (using an ND fader) and deliberately tried to overexpose and let the sun flare to get that dreamy summersday vibe. Pretty happy with the result! http://www.youtube.com/watch?v=cTqP_enLUl8 and check out a fun little prologue we made as a lead-in to the release (subtitled). http://www.youtube.com/watch?v=FmKoVy1_C7A cheers!
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