Turboguard

This is the second time this happens for me this week, with TWO different projects. Look at the image provided, my mask result for some reason jumps outside of my mask. I don't understand why... I thought maybe it was just an issue, saved and restarted the program, but no, it stays like it. So tried rendering, again like in the pic, that's where the mask stays... Why is this?

I'll get straight to the point; you guys building rigs with small footprints and using handlebars, how do you deal with front weight of lenses? I'm looking into buying a set to go, but worried that for example a smallrig cage with handlebars on sides will be uncomfortable if I use a 1kg lens.

Quick question: What do you (you who have experience with it) think about FilmConverts grain?

Oh that 14mm!! I use Rokinon 10mm CineDS 3.1 at the moment, wouldn't mind the loss of 4mm for that extra boost in aperture! yummy!

I do 90% of my graphics and titles in PS. Quick and easy and you can just import the psd directly so if you do any changes to the psd it will automatically link in Premiere.

I shot 2 commercials last year with the mini and did all audio on board with 2 wireless Sennheiser lavs. Had Zero problems!

As said above, optical flow is your answer when merging shots with different fps. I'm not super technical myself when it comes to the time interpolation settings but I always get ghosting with frame blend and such. Good luck

Okay, I'm serious about upgrading my BMPCC because of FPS. But am I going to feel sorry over a camera like this with no RAW? I've been shooting with the Ursa Mini 4K and love it but saving up for all the add ons for the Ursa is just months and months away from me. Does the DSLR market really put up a fight against Blackmagic today?

Right now I'm editing two (7min TRT) corporate videos shot with Ursa mini 4K Prores 422 HQ. And also a wedding video shot with bmpcc raw. Only time computer does runs hot is when I encode something.

Again, here's my set up that I edit hour long 4K time lines with. Yes I do have my bus set to 1/4 and if working with lots of effects maybe even 1/8 resolution (e.g. not even proxy!). I have zero crashes or hick ups. Don't understand how the graphics cards 4 years later could be worse than the (perfectly fine) ones I'm working with at the moment...

I still edit all my work on my mid2012 retina MBP. e.g. first generation and I have zero problems. So reading through here I'm kinda laughing at what you people are considering problems. I can tell I'm gonna love working on my new late 2016 MBP!

Might be a weird question but does someone have any recommendations for 6 LUTs that would be a good starting point to use with the BMVA? The reason why I'm asking is cause I'm trying to create a list so I won't have to change LUTs in between gigs. Say 1st LUT could focus on getting a wide DR so that would maybe show a slight contrast curve and maybe 180% Saturation. 2nd could focus on no contrast but extremely saturated colors. 3rd could focus on nice blacks and whites in a BW image. Etc etc Mainly looking for LUTs to help me with exposure coming into RESOLVE afterwards. Thanks

I don't think you need proxies for bmpcc raw unless you use a really really old laptop. Anyhow, my flow is making selects and first color in resolve then jump into Premiere for my final edit. If I do see any color problems in Premiere after, I can usually fix it with a quick change in Lumetri before final delivery. Simple and I only switch programs once. I've tried to use Resolve as a one stop shop but because of my deadlines I've never really had the time to set up resolve with all my Premiere shortcuts for a fast editing solution. There's no other real reason I haven't done a full job in resolve yet.

Thanks, yeah guess proxy way is a given. I usually go from DNG to ProRes so edit mildly in DV while coloring. Then I edit my final cut in Premiere with the Prores and if I'm during the way (very seldom) find a weird color issue, I fix it with Lumetri before export. It's just the way I've always worked.

Sorry if it came out confusing. I usually start by doing selects and then coloring them in DaVinci before export to Premiere. If I, in Premiere later find some colors be off or maybe not saturated enough I will fix that with Lumetri instead of going back to DV. So this time I started editing for 8h on this project without going through DaVinci first, so my question is if I could take the original ProRes file into DV, color it and then export with exact same name then replace my Premiere files with the new colored ones. The reason for this this question is that DaVinci always renames my files to something else when exporting. Does this make more sense? Again, I said maybe this is a very stupid question. Sorry

So usually I start my workflow with doing selects and color in davinci then head over to premiere and do final color if needed with lumetri. But for some reason I did my edit first this time and I wonder how I can go into Davinci and basically overwrite the original files with a new color pallete so premiere pulls those files automatically. I'm not looking to change codec or anything so basic overwrite is what I need. This might be super easy but I look for your help. Thank you so much in advance!

Thanks guys!

I was wondering if you guys could help me out deciding on a new field recorder. I currently use the Tascam 60D (mark 1) but am tired of it's design. I'm thinking about maybe getting the 70D instead as I do like that design when having the recorder hang over my shoulder in the straps. But I'm not a sound guy really so am not following too much news in that field, thinking you guys might have better recommendations. I have a rode NTG2 and Link Filmkit hooked up to it mostly if that makes any differences to choices. Thanks in advance guys!

That DR though! Who can complain?!

Good job fellow brooklynite!

Great, so I could do 4K prores then to just save myself! Thanks for such quick reply!

Next week I'm shooting some interviews for a client and I've rented the UM4K. Now I'' wondering how clean the image would be if I crop from a regular view into a CU from the same image. The thing is that they're paying me shit money and I don't want to do a 2 camera setup (running solo). Second thing is that I will be shooting full days and don't want to do too much DIT, so my question is also if it's sufficient enough to shoot 1080p instead of 4K (prores 422). Anyone who's tried this?

Great to hear that! And as IronFilm ask, do you have a recommendation for the adapter? Thanks so much for quick reply!

Shooting 2 internal videos for a company in the coming months and am SOLO to the shoots so I don't want to bring too much stuff and was wondering if anyone has any experience with using the BMUM46k together with Rode film link? E.g just plugging the receiver straight into the UM's xlr port. Let me know!

Shoot RAW and then just color it in DaVinci and export as ProRes 422 (HQ) before editing in your choice of NLE. I usually do an edit in premiere (which takes DNG), xml to DaVinci for color, render as ProRes and then back into my NLE.