– When people see footage shot on RED with HDRx, they generally say it looks more cinematic. I think it's the motion trail generated by the longer exposure for the darker parts, blended mildly into the highlights.

– Twixtor works very well if you don't try to generate serious slo-mo, but only fill in frames. I used it recently for a well-known video artist, who had her project already shot in 50p to slow things down, but later was still unhappy since her camerawoman made a few turns a tad too fast (it was a very long uncut sequence). So, we tried generating intermediate frames to screen it with higher (albeit fake) temporal resolution. We both tested 1080i50 and 720p50, and she liked i50 the best. After all, i50 is blending the additional temporal information into the motion, and it looked quite smooth.

So, let's start experimenting with intermediate frames generated by Twixtor and mixed in by different overlay modes, maybe even blurred to some degree and see if we can make electronic shutter look any better. Twixtor ain't cheap, but you can always use the watermarked demo to test our theory.

Twixtor together with AE will do nearly anything you can imagine. I'd suggest a simple approach for a first try: just generate one intermediate frame for any given "real" frame. If I remember well (I'm traveling right now), you can bias frames to one of the neighbors, so maybe one should generate two, closer in time to the originals. Soften them and mix them in with an appropriate mixing mode, like "soft screen". Play with their opacity.

The Source Filmmaker (SFM) is the movie-making tool built and used by us here at Valve to make movies inside the Source game engine. Because the SFM uses the same assets as the game, anything that exists in the game can be used in the movie, and vice versa. By utilizing the hardware rendering power of a modern gaming PC, the SFM allows storytellers to work in a what-you-see-is-what-you-get environment so they can iterate in the context of what it will feel like for the final audience.

See more at: http://www.sourcefilmmaker.com/

http://www.youtube.com/watchv=QWx13d52HVo

theres the link to the video i really just want technical advise , i know i need stabilisation stuff, and threes an issue with ghosting on the lens,i have a uv filter on the nikkor 50mm 1.8 is this it? why? what else?

ta

complete noob sorry :S

Found some info online about recommendations for reels, though doesn't seem like there is any one rule of thumb. Let me know what you think, and could use some feedback, as I may make changes to it, if necessary.

The basic idea:

• Start with full rez (not subsampled) chroma
• Shift each YUV channel by a half-pixel in certain directions
• Convert to subsampled chroma format

http://cycling74.com/products/max/

http://cycling74.com/forums/topic.php?id=39981&bb_attachments=194724&bbat=3945

Via:http://cycling74.com/forums/topic.php?id=39981

Anyway, I have a variety of lenses, but wanted to know from the community -- what is your "go to" lens for this type of work? I have been trying the Voigtlander f0.95 25mm, and although it achieves focus, it's really too close to the image for comfort. Next I will try my Nikkor 105mm f2.8 mikro, but what else is a good option, and how do you light the images?

I see my GH2 with a pancake lens, shooting away while sitting discreetly on a sock-full of rice, or attached to my belt. I've starting to read the manual and find I'm missing out on a lot of what the GH2 can do, automatically, to free me up to work faster and better - not to make a silk purse out of a sow's ear, but to become a more modern videographer.

So, within reason, I'd like to hear from fellow users like me.

[Edit] The stinger, "You don't buy a dog and then go around barking, chasing cars and pissing on trees" is an Australian variation on, You do not get a dog and bark yourself.

I found this helpful http://vid35.wordpress.com/2010/12/28/how-to-shoot-real-estate-videos-in-7-easy-steps/

Just seeing if there is anything more info I could use. It seems lighting may be to trickiest thing to get my head around.

Cheers

So recently I've been having a bit of an odd issue. I have an off white table with white stripes I use for recording. When I record something that is not filling a lot of the frame, I'm fine. But as soon as I film something that nearly fills the frame, the entire background gets blindingly bright and overexposed. This happens with two cameras I've tried. (Kodak Zi8, Sony Bloggie DUO HD)

Here's some pics to give you an idea.

This is ruining my shoots and driving me nuts! Any idea how I can fix this?

http://i.imgur.com/PvsA5.jpg

http://i.imgur.com/oekUW.jpg

I'm gonna stick to this above 1/40 shutter rule, it's definitely worth it I intuite.

Hack the planet!

According to spec sheet, the drives have a sustained speed of 110MB/s. Here is the issue that I have during editing.

For a GOP1 hack like QuantumX v5c B Pictoris (Nick's settings), the stuttering is bearable. For a non-GOP1 like Sanity 4.1, the stuttering is NOT bearable.

Pictoris is 40Mbps for 24L. Sanity 4.1 is 29.3Mbps for 24L. I like GOP1 settings except the noise. I have tried a few GOP1 settings from Nick's excellent work and noticed quite a bit of noise compare to Sanity. Do others notice that or it's just me? Nick, is there a way to reduce the noise in some of the GOP1 settings?

Anyway, 29.3Mbps is roughly only around 4MB/s. So a disk drive with 110MB/s sustained speed should be able to handle the bitrate with ease. Do I understand this correctly?

Thanks.

The first 17 seconds is the original exactly as shot, then it switches to the results of two hours of experimenting with grading and noise reduction stuff. Look in HD to see the noise that I was faced with. A real testament to the GH2, Cake, and the power of software that it pulls out at least a usable image after a lot of Guantanamo Bay style pixel-torturing. At 17 seconds in, it's as if someone turns the lights on. I think it's amazing.

Obviously it would be great to get it right in the first place, but sometimes you're stuck with something less than stellar and have to rescue it.

PS NO AUDIO

https://vimeo. com/40645611 (for those with portable devices - remove the gap in the URL)

Hopefully other people might have examples / stories of rescuing stuff.

I've landed a few legit gigs, but nothing great. I love making movies, but hate this industry mentality here. It's like they're still making movies like they did from the 50's. ...which actually makes sense because that's the generation who's running the studios now.

So in 2012, are there actually better options now? Any modern film-making cities? I'd love to go to Austin or Seattle... but I really don't have a clue to the amount of jobs or opportunity there. Everything online just says "go to LA!"... because it's the obvious answer. There is definitely an abundance of great actors here in LA... but again, the cost is so high, that it's impossible to get the capital for an real projects... (just as the studios want it).

I mean, if you want to work as a PA, the business side, or TV production. Then yea... LA is the place to be. But directing/writing for film seems like could actually be persuaded easier elsewhere. Especially for something like music videos... Austin seems WAY better for that type of film-making.

What do you guys think? Anyone having success (or just fun) elsewhere?

I dont have such problem on a Panny GH2 clips. what could be the problem? Thanks!

http://michaelcioni.tumblr.com/post/14725750331/4k-digital-intermediate

In particular, I was stunned by the data rates required for handling the large image files. A single frame can be 45 MBs -- and the drives they require support at least 500 MB/s.

I intend to use Lightwave 10, DAZ Studio, Vue9 Complete, and PFMatchmove.

I am inspired by this

I think I have the skills in the 3D applications to get a result which will help me get paid work. I envisage most models being modifications of purchased models, DAZ .. Renderosity.

My first request for input is .. patch to use .. should I use a patch. I think there are some other topics that deal with the importance of even lighting, and acquisition, so lets assume everything is an even green and well lit.

I say; Should I use a patch, as I also have the option of recording uncompressed 10bit onto a Hyperdeck Shuttle, or in an AVID 10bit DNXHD using a Hyperdeck Syudio. I edit on AVID so this is attractive.

Opinions and thoughts please.

Thank you

Kevin

KeNoah