![]() The result can tax your system, leading to dropped playback frames and a lot of rendering time. Your cuts are probably NOT going to be on the first frame in a group, which means the computer will have to analyze and rebuild frames every time you cut picture. There’s a LOT more involved than this, but here’s the main point: editing H.264 footage can be difficult. It stores the first frame, then stores the DIFFERENCES ONLY between the first frame and all subsequent frames within the group. Essentially, what the codec does is analyze a group of frames (in most cases, 6 or 15). Part of how it does this is by storing frame data in a long-GOP format. H.264 is a highly compressed format that somehow retains a lot of detail despite throwing out an enormous amount of picture information. The Canon 5D records to an H.264 Quicktime-playable file. I’m assuming that many of you are in a similar situation. On Found In Time, we had no script supervisor, the sound mixer was doing about three other jobs – though he did take very good notes – and we didn’t have an editor in place during the shoot. ![]() However, on micro-budget films, this is a comparative luxury. The advantages are fairly obvious: you’ll find out about coverage or technical problems while you’re shooting, and you’ll get to a rough cut that much sooner. On a big enough film, your script supervisor would make the continuity book, the 2nd AC and the mixer would write reports, and your assistant editor would transcode, log, and synch, all while you’re shooting. The goal is to get acquainted with the film you’ve shot (as opposed to the one in your head), save your editor unnecessary headaches (and you unnecessary time and money) hunting for footage, and get your brain thinking about sound, visual effects, titles, music, and other post elements. Today I’m going to stick to the first three steps I outlined: transcoding, synching, and logging the footage. In the previous entry I focused on the big post picture. But I wanted to delve into more detail on something that’s very important, and I think underreported: preparing your film for the editor. Even though I scored a new camera, I'm stuck with this lame process because some pinhead at my company has suddenly decided bokeh is cool.I promise, there will be a blog entry – soon – on production. This requirement alone makes the whole DSLR video thing totally stupid and completely amateurish. Manually tracking focus while shooting requires a very good monitor hood/magnifier. Of course, a precision focusing aid is not an option on any of Nikon's "professional" cameras these days.Īuto focus tracking while shooting is unreliable and unprofessionally lame. Today's lenses have tolerances that are too tight for manual focus, merely letting go of the focusing barrel pushes the lens past the exact focus point. This, in combination with a split image rangefinder or microprism, meant precision focus was easy to achieve on the older lenses. ![]() My ancient manual Nikkors had focus rings that used 200 to more than 360 degrees of rotation to go from minimum focual distance to infinity. The image is lovely but shooting through my Nikkor primes has several negative aspects, most notably, today's autofocus lenses have focus barrels that go through the entire range in 120 to 200 degrees. So, roughly, I'm looking at 6-8 times real time to process H,264 to ProResLT into a file that is roughly 4x the size of the original. Shooting on the D7000, I used Image Capture to import a 2 minute 1080p24 clip that was 325 megs,Ĭompressor processed it to ProRes422LT using 7 of my 8 cores in about 7 minutes to a file that is now 1.2 gigs.
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