By Elliot M
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.
Tried to capture the essence of the fun, up-tempo and a bit melancholy synth-pop of the 80'ies. The decade I loved so much. I made this with a lot of old gear for the music. As for image I used only a Sony A6000 with the kit-lens and the 55mm 1.8. Some of the shots are also the iPhone 6 with a 4K hack. Most of the shots with that worked ok, but it's not 100% stable.
By Dåmienb Our
Hello there !
We had the opportunity and luck to be part of the "Dominica Film Challenge" this year, here is the result of our week in this tiny and lovely island from the Carribeans !
Hope you'll like it.
We mainly shot with a Red epic, but there is also some 5d III raw footage as we had troubles with our luggage (4 days to arrive..). There are also a few drone shots made with a phantom 2 and a gopro 4.
I'm new to the site and new to video work, but I've been lurking around the forums and Review Articles for a while now, trying to figure out what camera I should pick.
While totally new to serious videography, I've been doing photography and very light video on the side for about 6 years, so I wouldn't say I'm blind to the more enthusiast thresholds of acceptable quality.
With that in mind, I've narrowed it down to two models. Well... one. Two. Maybe just one. Possibly two.
Currently I'm heavily leaning towards the GX7 as:
- I assume focus peaking for someone that isn't trained in the art of manual focusing would be nothing short of magical(?).
- I will not be needing high quality external audio (for the foreseeable future) (I'll probably mostly be doing artsy montages with music on top,heh...).
But I've seen the GH3 recommended over the GX7 for video quite a few times because of:
I have read Mr. Reid's (predominantly positive) thoughts on the GX7 and that strongly weighed into me currently leaning towards it.
My question is:
Has anyone who has tried both the GX7 and a more codec-competent (higher bitrate) solution ever been strongly frustrated with the former at any point?
Like going "THAT WAS THE PERFECT SHOT! GOD HIMSELF PARTED THE SKIES AND UNLEASHED THE MOST HEAVENLY RAYS OF LIGHT THAT DUCK HAS EVER SEEN. YOU HAD - ONE JOB! " when you came home to realize that the water ripples in your perfect shot created the occasional blocky codec artifact?
I guess my question can mostly be boiled down to "Bitrate Vs. Focus Peaking". I hope it isn't overly redundant.
Any advice and personal input would be really really appreciated. Like...
...this much > [ ]