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Well most of that stuff can be fixed with some re-editing. Can't do anything about the placement of the ticket (my main actor just moved 2000 miles away), but the knife is actually a real switchblade, I just cut it like that to cover up a transition. Would you think it was better if the first and last scene were a lot shorter?
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Jul 20, 2009 14:44
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Yeah, definitely. And I'd either put lots of focus on the thief in the store, or none at all.
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Jul 20, 2009 15:19
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Good to know. I'm going on a road trip to move to Denver tomorrow so I won't be able to re-cut it for probably a couple of weeks. Regarding the thief in the store: is the problem that you don't know where he is in relation to the other two? I'm hesitant to cut him out entirely because I feel the next scene would be random and not motivated.
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Jul 20, 2009 16:15
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Yeah, there's really no spatial connection. If we were given a close-up of him looking, then a shot of what's-his-face and that-other-guy at the counter, we'd make the connection. As it is, you might as well just cut him out and make the robbery just bad luck, which is understandable. That brings up another problem: there should be more happening to this guy, eventually culminating in the robbery. It feels too one-off and small, and it would be much funnier if, say, he were to go out, step in a puddle, walk into a lamp-post, tear his jacket on a nail, run into an angry ex-girlfriend, and then be robbed. It would really drive the point home when the ticket shows up at the end. However, this isn't something that can be solved with editing, so I don't know why I'm blathering on about it. In any case, either give the guy more screen time in the store or cut him out completely. It probably doesn't help that we never really see the guy when he's robbing him, if you have any shots of his face, then giving him more time in the store would give us an association; if we never see his face, then why bother giving him more time in the store? We won't make the connection.
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Jul 20, 2009 19:14
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Is there a general industry storyboard program? How do most people go about compiling their storyboard?
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Jul 23, 2009 19:56
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Stick figures, mostly. No, seriously, I 'stick out the scenes then pass them off to either a family member whose much more of an illustrator than I am, or a friend whose an artist and have them make them become understandable.
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Jul 23, 2009 20:34
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zaepg posted:Is there a general industry storyboard program? How do most people go about compiling their storyboard? I use a 3D modeling program with a built in selection of characters, clothing and objects. It allows me to place dozens of cameras and light the scene for a further idea of how it looks. It also allows script importing and will automatically make scene locations. You can also export animatics. It's pretty powerful and better then stick figures by a mile. It does have a slight learning curve, but once you get used to it (or have prior 3D experience) it's easy to work with. http://www.frameforge3d.com/ Edit: Oh yeah, it's pricey, so unless you find a deal from a friend or something, expect your wallet to weigh less. It's worth playing with the demo, though. Giga Gaia fucked around with this message at 21:50 on Jul 23, 2009 |
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Jul 23, 2009 21:46
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Awesome. Thanks for the storyboard program, I definitively will try out the trial.
zaepg fucked around with this message at 18:17 on Jul 30, 2009 |
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Jul 29, 2009 22:43
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So the d300s is out and it is 720p at 24fps. Who wants to bet that the next full frame nikon is 1080p at 24fps with full manual controls and will absolutely gut the Canon prosumer line of video cameras? Nikon is the only maker without a prosumer video line to protect. I'm betting big things will come out of nikon before anyone else.
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Jul 31, 2009 05:30
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Walnut Crunch posted:So the d300s is out and it is 720p at 24fps. Who wants to bet that the next full frame nikon is 1080p at 24fps with full manual controls and will absolutely gut the Canon prosumer line of video cameras? I really hate the camera with a video-feature thing. CMOS sensors work fantastically in still cameras, just keep them the gently caress away from video until the shutter issues are worked out.
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Jul 31, 2009 16:12
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ACanofPepsi posted:I really hate the camera with a video-feature thing. CMOS sensors work fantastically in still cameras, just keep them the gently caress away from video until the shutter issues are worked out. Most modern HD video cameras are CMOS, not CCD. The vertical tearing issues have more to do with the software and image processor that read the image off the sensor.
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Aug 1, 2009 01:13
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CMOS problems have to do with the shutter. Most modern HD cameras are still CCD. Most consumer HD cameras are CMOS and there is a good mix in the prosumer world. RED is the standout in the pro world. I think VDSLR market has some real possibilities. Especially for Nikon if they get their act together. I don't think I'd ever use them to shoot anything, at least not yet, real video cameras are so much more flexible and reliable. But as special use cameras I think they'd work like a charm.
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Aug 1, 2009 03:27
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Walnut Crunch posted:CMOS problems have to do with the shutter. Most modern HD cameras are still CCD. Most consumer HD cameras are CMOS and there is a good mix in the prosumer world. RED is the standout in the pro world. Neither CMOS nor CCD technically use a shutter at all, the "shutter speed" is how many times a second the software reads an image off the sensor. CMOS images are read in horizontal lines from top to bottom, CCDs are read in vertical lines from right to left. CMOS are also less laggy, cheaper and consume less power than CCDs. CCDs are just as vulnerable to skew as CMOS, it's just less noticeable because tilts are less common than pans. It's ultimately up to how well the image processing firmware is capable of compensating for it. RED is not a standout at all. The SI2K, the F900, F950, F23, EX3, EX1, and James Cameron's new "Fusion" system are all CMOS cameras. The majority of major release films shot in HD this year were shot on CMOS cameras. CCDs are more expensive to make, require more power, are slower, laggier and more prone to smear than CMOS. They're being phased out.
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Aug 1, 2009 04:47
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Dr. Fishopolis posted:CCDs are just as vulnerable to skew as CMOS, it's just less noticeable because tilts are less common than pans. It's ultimately up to how well the image processing firmware is capable of compensating for it. F900 and f950 and f23 are ccd cameras. So is the hpx-3000 and the new varicam. EX3 and EX1 are semi-professional cameras. So basically top end cameras, aside from RED (and I know nothing about the SI2K other than some posts about it being noisy) are all CCD. The highspeed phantoms are cmos. So I'm not sure CMOS is primetime yet considering that neither sony or panasonic have released a top tier camera with that technology. Shutter is a commonly used term with cameras whether it is physical or not. The top to bottom read of cmos creates many problems as opposed to the global shutter approach. Skew is a huge problem with CMOS as are strobes and vibrations. Some cameras handle it better than others. CCD's are pretty rock solid. There must be some reason they are still in the pipeline. Panasonic grudgingly went into the CMOS world though they themselves are still fully committed to the CCD. They basically said they went CMOS because of consumer demand, not technical need.
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Aug 1, 2009 06:19
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oh you're right about the top end sonys excuse me. the SI2K was used on Slumdog MIllionaire. What I'm trying to say is that CCDs have just as many inherent problems as CMOS does. They used to be horribly smeary, low contrast, bloom-prone and stuttery. All of these problems are now compensated for by better manufacturing and in-camera processing. CMOS actually solves more problems than it creates, and is on paper a better technology than CCD. The consumer-level implementations have been iffy so far, but I've worked with some pretty extreme RED One handheld footage and there's no hint of skew, wobble, banding or partial exposure like would happen with the Nikon D90 or my Canon HV20 or something. It's all about the implementation. So far, "video DSLR" functions have been pretty badly mangled by low on-board processing power and crappy codec handling. The CMOS is only one part of that. Once the growing pains get worked out, It'll be a great thing for videographers.
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Aug 1, 2009 07:08
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True, that's why I think watching the whole Nikon, Canon, and to some degree Panasonic thing is interesting. Nikon is the only one that doesn't have a prosumer market to cannibalize. They don't really seem to get video yet though, and don't seem to know what a goldmine they are sitting on. All the other companies sell $3000 and up cameras to the prosumer, that a quality VDSL at $1500 would totally destroy. I think if the MK2 was a bit better of a real video camera, Canon's XL video line would cease to exist. I'm not sure they want to do that. Whatever Nikon releases next in the full-frame market, it's D700 replacement, will tell the tale of Nikon and video. If they release 1080p, modern codec, 24fps, full manual, they have a real chance of changing the market. If they just do a incremental like with the D300s, well, then nothing to write about. Right now, there is no CMOS camera that I can take out in the field for run and gun EFP, that I would trust for image. A couple of years from now, we'll see.
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Aug 1, 2009 16:55
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Here is my newest cinematography reel, I've posted it in a couple other places already this past week so maybe you've seen it already. Let me know what you think. http://www.youtube.com/watch?v=5ZKl9tgO_qs&fmt=22
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Aug 8, 2009 09:10
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What are we doing for music these days? I seem to have the hardest time trying to find/make friends who are able to produce the right stuff for my work. So what do you guys do when you want to make a video suitable for a commercial environment and you need royalty free music?
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Aug 10, 2009 01:16
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Walnut Crunch posted:A couple of years from now, we'll see. Thanks for taking care of that, I would have came off as too much of a CCD fanboy. The real difference between those Cine-alta Varicam Genesis cameras that Panavision and a few other companies make is the way the sensor "see's" pixels. Your consumer grade camcorders, and even your higher end HVX's and the like arrange pixels in a bayer pattern. This means in an array of light capturing pixels, there are twice as many green points as red and blue. THis means each pixel can either be RG, BG, but rarely RB at one time. In a Panavision Varicam, that Star Wars camera George Lucas used arranges pixels the proper way. R,G, and B on one pixel. I butchered the explanation, but read this article, it's fascinating: http://magazine.creativecow.net/article/the-truth-about-2k-4k-the-future-of-pixels
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Aug 10, 2009 17:46
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FloatingPoop posted:What are we doing for music these days? I seem to have the hardest time trying to find/make friends who are able to produce the right stuff for my work. So what do you guys do when you want to make a video suitable for a commercial environment and you need royalty free music? well, if it's a commercial environment, you generally have to pay licensing fees.
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Aug 10, 2009 20:24
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tallkidwithglasses posted:well, if it's a commercial environment, you generally have to pay licensing fees. And that's a bitch when you're barely making any money (or none at all). I've resorted to something I think is better. Tapping into those musicians who want to get their music out there and are small enough that they're willing to work on awesome collaborations with you (I appreciate these people much more than I used to). Anyway... I recently bought an EX1 and whipped this up yesterday http://allexits.net/node/45 Any particular recommendations for compressing HD footage for the web? I've been using premiere's media encoder to make these flv's, but I was curious what others are doing.
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Aug 10, 2009 22:18
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SquareDog posted:Here is my newest cinematography reel, I've posted it in a couple other places already this past week so maybe you've seen it already. Let me know what you think. It's cut better than most cinematography reels I see. For the variance of shots it's a bit long, all though it's cut well enough to keep my interest. On almost everything but the Bjork video your black levels are about 10 IREs too high. Great reel man, I'm impressed.
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Aug 11, 2009 01:11
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butterypancakes posted:It's cut better than most cinematography reels I see. For the variance of shots it's a bit long, all though it's cut well enough to keep my interest. Will fix this when I fix Avid, thanks bro. 
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Aug 11, 2009 01:24
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SquareDog posted:Here is my newest cinematography reel, I've posted it in a couple other places already this past week so maybe you've seen it already. Let me know what you think. That was good, I also found out where that wink gif came from now.
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Aug 11, 2009 17:55
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I've got a cheapo DV cam, Sony DCR-HC20. It does not accept external mics. I want to put together a short 3-5 minute action scene. What kind of budget audio solution for dialog should I look into. I found that to frame it the way I want, I have to set the camera up farther away, zoom in, and then the onboard mic is not effective. Then to sync the sound to the video, am I going to run into any problems in Premiere elements regarding the speed of the external audio and the speed of the video. I have watched some tutorials where you have to slow down the audio to sync the video. Why is this? Wouldnt both the video and audio record in the same time?
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Aug 12, 2009 15:00
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AIIAZNSK8ER posted:It does not accept external mics. I'd assume it takes audio input from a 2.5mm headphone jack. Get a mixer and some adapters.
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Aug 12, 2009 18:55
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AIIAZNSK8ER posted:I've got a cheapo DV cam, Sony DCR-HC20. It does not accept external mics. I want to put together a short 3-5 minute action scene. What kind of budget audio solution for dialog should I look into. I found that to frame it the way I want, I have to set the camera up farther away, zoom in, and then the onboard mic is not effective. Then to sync the sound to the video, am I going to run into any problems in Premiere elements regarding the speed of the external audio and the speed of the video. I have watched some tutorials where you have to slow down the audio to sync the video. Why is this? Wouldnt both the video and audio record in the same time? INPUTS/OUTPUTS # External Stereo Microphone Input This was listed in the specs. for your camera. That means you can plug any old PC microphone into your camera to record audio from a distance if you want the ultimate budget solution. You can find headphone extension cables to get more range from any electronics store. If you wanted a higher quality solution go for an audio input box with XLR connections, that you can then plug into your camera's mic. input. http://www.amazon.com/Beachtek-DX-A2S-Compact-Adapter-Camcorders/dp/B0007WVABY This guy will even mount underneath your camera body where the tripod does. it has it's own mount underneath it so you can still shoot with a tripod.
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Aug 12, 2009 21:29
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ACanofPepsi posted:http://www.amazon.com/Beachtek-DX-A2S-Compact-Adapter-Camcorders/dp/B0007WVABY This is probably the best solution. Get one of those, plus a cheap shotgun mic, tape it to a long broomstick and you've got a cheap boom. The cheapest external recorder is going to cost as much or more, you'll have to deal with syncing the audio in post and still have to buy the mic anyway. Just remember though, audio is really critical to any production.. if you don't do a good job with it, the whole film will inevitably suck.
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Aug 12, 2009 23:30
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my bad guys, i spent forever on the camera looking for the mic jack, turns out my camera is the dcr-hc21! doh! looks like ill have to be on the lookout for another camera if i want some quality sound.
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Aug 14, 2009 00:33
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AIIAZNSK8ER posted:my bad guys, i spent forever on the camera looking for the mic jack, turns out my camera is the dcr-hc21! doh! looks like ill have to be on the lookout for another camera if i want some quality sound. Or you can just record audio to an audio recorder and sync it in post.
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Aug 15, 2009 06:47
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Bread Klimt posted:Or you can just record audio to an audio recorder and sync it in post. I guess that brings me back to my original question. What is a good budget audio recorder for portable use? And then, what sort of problems can I expect to run into when using Adobe Premiere Elements when syncing the audio in post?
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Aug 16, 2009 06:46
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ACanofPepsi posted:I really hate the camera with a video-feature thing. CMOS sensors work fantastically in still cameras, just keep them the gently caress away from video until the shutter issues are worked out. I shot three quick projects with them last weekend, and honestly it comes out ok. The workflow isn't that great (you have to bring them into compressor before you can do anything). The real problem I had is that the lenses that most packages are going to have with it are really suited for stills, racking and pulling focus on them is a pain and never comes out quite right.
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Aug 16, 2009 12:02
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AIIAZNSK8ER posted:I guess that brings me back to my original question. What is a good budget audio recorder for portable use? And then, what sort of problems can I expect to run into when using Adobe Premiere Elements when syncing the audio in post? The Zoom H4 is pretty much the best bang for the buck. You may or may not have drift issues, but for action you're almost certainly going to replace your audio anyway.
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Aug 20, 2009 04:15
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Hello I'm looking for resources that analyze movies/scenes/whatever, sort of like this blog here: http://www.cineobscure.com/visual-language-tombstones-ok-corral/ Share 'em if ya got 'em edit: might as well put this here. http://www.cineobscure.com/category/the-art-of-filmmaking/visual-language/ Lots of good stuff Isosceles Kramer fucked around with this message at 01:36 on Aug 21, 2009 |
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Aug 21, 2009 01:32
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More free resource sharing: http://www.apple.com/downloads/macosx/finalcutstudio/lucaspluginsbundle.html Free plugins for you FCP editors. I've used them on a couple things and I've not been too disappointed, although I've yet to match the quality of my stuff to what they show the plugin can do in their example reels. Let's see, also in the news Canon has come out with a bunch of new P&S cameras. Rumors abound of a new 7D, so maybe that's another model with video on-board. Anyone else waiting for the Canon second coming of Jesus that will be a prosumer model with fullframe technology using the EOS lens system, but still have the features of the XL line? Sometimes I think Jesus coming back could be more likely.
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Aug 23, 2009 17:05
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dorkasaurus_rex posted:http://vimeo.com/4378163?pg=embed&sec= speaking of the 5dmkII, here's one of the nicer pieces of video I've seen shot on it yet Not to be insulting about the focus - but it was really hard to keep from getting sick. Also, you've committed a crime against humanity by not rotoscoping all of the lightsabers. I was really hoping they were colored for more than just decoration. 
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Aug 24, 2009 03:46
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Having been making super low budget shorts for something like eight years now, I finally decided I need to make a reel. I sat down last night and edited for a few hours, and while I plan to cut it down quite a bit, I wanted to get some feedback from you guys first. What shots work and what shots don't? It's mostly dramatic work with a few candid shots on the streets. It's mainly shot with a DVX-100a, with shots with the Sony EX-3 and two or three shots with a PD-150. Let me know what you think. http://www.vimeo.com/6282336
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Aug 26, 2009 23:54
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Hey, looks awesome man, nice work. I would open with something stronger than the architecture shots, something slow and dramatic, with people. Get rid of any shots that are underexposed and shorten the reel to about 1:30 if you're going to go with the music video style. Also maybe you could make a supplementary video that would be longer with portions of complete scenes in them. Where do you live in the world?
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Aug 27, 2009 00:01
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SquareDog posted:Where do you live in the world? I'm in Korea. I'm so busy with my regular job that all of the shorts I've been working on have fallen by the wayside. We're hopefully getting funding for a feature that we're going to shoot some time this winter. We're probably going to shoot on the EX-3 with a Letus Extreme. I'd like to try a GH-1 or a 5D Mark II, but am a bit skeptical about them. What kind of portions of scenes should I be showing in the supplementary video? I've edited acting reels and such, but this was my first cinematography reel. Most of the ones on Youtube are done like music videos (although maybe not quite so precisely edited), so I kind of went with that.
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Aug 27, 2009 00:51
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It's a good way to show in 1:00 - 1:30 what you can do. but you should have a longer one that shows your continuity of shot looks in select scenes. Try to pick your best looking and most diverse scenes. Just start with the short music video style one and decide later if you want to do a long one. The letus is great, it's the best adapter by far. The 5d is really cool but I think it's best suited for casual film making and weddings.
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Aug 27, 2009 01:08
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