Previously, I talked about creating proxies to use for remote editing. The original footage remains in one location—not linked to the project—and only the proxies are used. I emphasized that you should make sure that the proxy files are created in such a way that they easily and faultlessly link up with the original footage. You can’t just assume... Read more
A lot of your decisions about when to buy a new camera and which camera to buy should center on the business case
Over the past six months, it’s been a season of new camera releases, each more tempting than the last. The latest crop of mirrorless hybrids and digital cinema cameras present some compelling new features and innovations designed to make shooting more efficient and the output, to me, more impressive.
The past few months have seen several new cameras... Read more
The costs for wireless video systems have steadily fallen while the quality and features have just as steadily climbed
Wireless video has become the latest must-have?
Not sure if you’ve felt that distant or perhaps not-so-distant call yet, the siren song of wireless video? What exactly do we mean when we say wireless video? It’s a somewhat amorphous term in the production world but generally, wireless video transmission is used by either:
A. Assistant Camera... Read more
As I mentioned previously, there are lots of uses for proxies: dailies/client viewing, transcriptions and more. But they’re also used for editing. I’m an editor so proxies for post is what I care most about, and I’ve had both successes and failures with them.
There are several reasons to use proxies in editing. For example, when you don’t... Read more
Previously, I wrote about what can happen when someone asks for proxies without talking about what they’d be used for.
In my example, the proxies were to be used by a transcription service. The issue was file size. With all the uploading and downloading, very small files would have been helpful instead of the 1920×1080 mp4s provided.
However,... Read more
I’ve recently written about proxies and how at times they’re treated like a one-size-fits-all panacea. As capture resolutions keep increasing, file sizes grow, too. Proxies become a way to tackle the enormous amount of data that has to wend its way through the post-production workflow.
But simply asking to “create proxies” without care oftentimes... Read more
The term proxy gets thrown around a lot in this industry. For many, the term is a panacea for everything. “We’ll generate proxies during the shoot…”, “I’ll give you a drive with the proxies…” and “Can they just use the proxies?” are all commonly heard.
It appears people mistakenly think that when they say “I need proxies” they... Read more
The end-of-the-year pro video/digital cinema convention held in Amsterdam was where the action was for new product announcements in 2019
IBC 2019 is the end-of-the-year pro video/digital cinema convention held in Amsterdam.
Whenever we think we have the media cycle down for the announcements of new cameras and gear, it seems as if we get thrown for a loop. This year, the disruptor was IBC 2019. The convention takes place in Amsterdam and over the past few years, it felt as if IBC would... Read more
A recent beta release of Blackmagic Design’s DaVinci Resolve introduced a boring detector. By detecting long shots in your sequence, it can help highlight all the yawn-inducing scenes in your project.
I imagine it would light up like crazy if you edited “2001: A Space Odyssey” or “Rope” or “Birdman.” Maybe the next beta release will give... Read more
Fixing a common mistake when you use stock footage
Previously, I posted about a common mistake that occurs when you use stock footage. I gave the example of inserting a slo-mo 24 fps stock clip into a montage of 30 fps footage. The sequence was natively 30 fps. (I’ve rounded 23.976 fps to 24 fps and 29.97 fps to 30 fps for clarity.)
It turns out that edit software is so obliging when it inserts... Read more
I recently wrote about coming across stock footage where the clip metadata didn’t align with the actual clip. In particular, a file may say it was shot at 23.98 frames per second, but in reality, it was shot at a different frame rate and then conformed to 23.98fps.
There are other times when the metadata lines up properly but things still go wrong.... Read more
Find out if the features on this new Canon EOS cinema camera will catch your attention
By Dan Brockett
The C500 Mark II is the first digital cinema from Canon that’s truly modular. Pictured here with the optional V-mount back, shoulder mount/baseplate, rods, lens support, handgrip extension
At IBC 2019 in Amsterdam today, Canon introduced a new digital cinema camera, the C500 Mark II. I’m not going to go deep into the specs of the camera as they... Read more
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