schneller schneller
Likes Dirt
Thanks for posting this, his work is amazing.
Thanks for posting this, his work is amazing.
I shoot 24 mostly, but when I have a slow-mo shot in mind I will shoot at the highest frame rate I can. This does limit the quality, but I am only uploading Web videos and full 1080p videos are just stupid.Ahh alright then, I'll just look at lots and lots of sample videos that are shot in different frame rates and decide from there.
Ummm as of 5 minutes ago:
-the body and lens are in Lantau Island, Hong Kong. The scheduled arrival date being the 17th (so much for 1-3 days delivery, I ordered it on the 8th). Didn't go anywhere for a few days but it's moving around everywhere at the moment...who knows what's going on.
-all of the extra stuff from 'BH Photo Video' is in Louisville, Kentucky (US) and has an expected arrival date on the 16th.
-the audio stuff I bought from 'Lamba' should be arriving on the 16th also.
Keeeeeeeeeen
Stabilized to the goggles.Will, what exactly did you do to that clip? It was.. unique?
Shot in 24p, should have been edited in 24p, but I might have fucked it up (I'm not very competent with AE yet.Looked like you shot in 50p as well and then exported/uploaded in 50p?
Also there are 2 "standards" of videoHey guys,
Is there any particular reason as to why people shoot a mix of 50p/60p and 24p on DSLR's? Why not just shoot it all at 50p/60p? If I had to guess it would be that the 24p would gave it a more natural feel in things such as interviews and the like. How much of a difference does it make. Seems like a fair big pain to conform all the clips to 24p that's all.
In other news I am now close to being bankrupt. This makes me sad.
Also there are 2 "standards" of videoHey guys,
Is there any particular reason as to why people shoot a mix of 50p/60p and 24p on DSLR's? Why not just shoot it all at 50p/60p? If I had to guess it would be that the 24p would gave it a more natural feel in things such as interviews and the like. How much of a difference does it make. Seems like a fair big pain to conform all the clips to 24p that's all.
In other news I am now close to being bankrupt. This makes me sad.
Hmm well is there a great difference in the image between 24 and 25p? Just thinking and it would in reality make a lot more sense to shoot in 50i and 25p in 720p as the frame rate conversation would be somewhat easier oui? What frame rate timelime would be best to edit and export with?In regards to frame rates
On DSLR's there is a trade off. Generally shoot at 25p, if you wanna do nice slowmo's then shoot 50p or 60p. The downside of shooting 50/60p is it's not full HD. It's 720p rather than 1080p. So while your slowmo's will be smoother, you loose resolution. Also, the aliasing is much worse at 720p.
ok, you want to do all your colour correction once your finished and happy with your final edit, that said you will have your titles done seperately to your "final edit".Aight, so I'm (starting) to use both after effects (titles, etc) and premiere pro to edit stuff in, but truth be told I'm not sure what I should be doing when (color correction/etc, like do I do color correction before editing and titles or like a final step before I'm finished the whole thing? And what program is best for each? That kinda deal). When I do titles and such in After effects, I render the file, but if I want to keep 1920x1080, how do I make it around the same size as the source file? I dont understand how AE puts an extra 300MB on a 6 second video clip...
General tips would be appreciated, I'm fatty n00b at editing right now.
Thanks man,ok, you want to do all your colour correction once your finished and happy with your final edit, that said you will have your titles done seperately to your "final edit".
also there are 2 types of colour correction
The first is called colour timing, this is where you adjust your highlights, shadow, mid-tones, gamma and gain of all your clip to look like they were all shot at the same time of day.
The other is called a colour grade where you will give your clip a certain colour "Feel"
as seen in movies like the matrix, the aviator and Sin city, Children of men just to name a few.
your file sized depends on which CODEC you are exporting to, all have their pros and cons.
personally I would go for
if your on a mac
an uncompressed .mov (quicktime)
if your on a PC .tga sequence or if your a bit limited for HDD space a .png sequence ( both of these can also hold alpha channels) whereas the .mov file wont,afaik.
for more help try creativecow.net, videocopilot.com
there should be dayd and days of reading there for you
hope that helps
Doesn't quite work that way.Oliver. said:Re. 24p vs 50/60p:
Q:Why not just shoot 50/60p all the time?
The advantage of shooting 50/60 all the time is that you can choose what to slow down, and what to keep at normal speed. Converting these frames to to fullspeed 24p is relatively straightforward. If you shoot 50p and convert it to 25p, then you just cut out half the frames. It's still proper 25p. 60p - 24p is basically the same principle. (although it would be great if cameras shot native 48p) In this way there is no reason not to shoot everything at 50/60p
However, if you remember, there is only a certain amount of data a camera can record per second. If you are recording at 50p, and then converting down to 25p, you are throwing away half your video information.
if a camera can only record 42mbps, then @ 50p, you divide that by 50 to work out how much data you can squeeze into a single frame.
If you shoot natively at 25p, then you are getting twice as much data through the codec, as you aren't 'throwing away' the wasted frames. The image is less compressed.......
The differences are pretty hard to notice, so if in doubt, shoot it all at 50/60p.
you can do this in AE fairly easily, provided you have the informationThanks man,
I should have said that I meant titles that are motion-tracked to a point in the footage (names of riders for instance), but yep that all makes sense.
Off to read now....
Don't worry, I got that all sussed out. Even did a bit of matchmoving with 3D objects made in Maya (actually look like it was originally in the scene). It's just the sequence of what I do in which programs that was bugging me out a bit as I wasn't so sure what's the most efficient way of doing it. Thanks for help though, that color correction stuff was spot on what I neededyou can do this in AE fairly easily, provided you have the information
IN AE you can matchmove your titles to your footage given your stabilization information.
it's too long winded for me to post here, but what you want to do is create 2 x tracking points with position, scale and rotation turned on, then you link this information to your titles.