mercer

Yeah but the special edition movie soundtrack version with cover art is a new ballgame.

I'd make it 20 or 25 bucks though. Watch pbs during their telethons, the point is why should I donate 10 bucks when for 10 bucks more I get this great tote bag. Apple is the king of that as well for their upgrades.

The next question then becomes... Are you gaining anything by recording in wav, when it will be compressed later for delivery anyway? Why not just record at a high bitrate MP3?

Ok thanks, I am a little ignorant when it comes to audio... What does the kHz and the bit number represent... Or measure?

A free soundtrack?

So, you think that is more than enough for low budget, indie movie dialogue?

Yeah, I would definitely do wav recordings but is 96 overkill? I read that depending upon the audience's listening equipment, anything over 48 could actually make your audio sound worse... Of course this article was geared towards music, which I assume would be more demanding due to the higher frequencies. But there is something interesting about having a half dozen small voice recorders dispersed across a set, at actor's marks, plus the ones in the actor's pockets. But I'll just probably stick to what I have... It's working so far.

so, i have been messing around with audio recording options. thus far, i have been using an olympus field recorder at 24bit/96khz and have been getting good sound with a lav. A friend of mine recently tested audio with an olympus voice recorder, recording at high bitrate MP3 with a neewer lav and the quality is amazing. I wouldn't say it's any better than my wav recordings but it sounds just as good. So, my question is... are 24/96 recordings overkill? A lot of inexpensive voice recorders record 24/48 or 16/44.1, is this level good enough? I even noticed that mpeg streamclip's highest, audio transcoding setting is 48khz, should i be taking the hint? my higher end olympus field recorder's still fetch a good price on the used market, if a lower bit and sample rate is good enough, i could have 5 lav setups instead of two. Thoughts?

Or... Two possible donors are awoken, in the middle of the night. They both hang up the phone and look at their beautiful wives lying in bed, one chooses sleep, the other chooses donation. He gets up, gets dressed and goes outside into the night chill. There are no taxi's in sight, he runs. Use the heartbeat and ticking clock idea, until your donor arrives and donates. The girl lives, he goes home. His wife awaits him with a smile. They go back to bed. Time lapse the rising sun in the window, pull back and see we are now with the the guy who chose sleep. His wife isn't in bed with him anymore. He gets up, goes outside to get the paper... He gets hit by a truck. The only possible donor, already gave blood, he bleeds out and dies at the hospital.

Or... Streamline your idea and keep it simpler. When your hero weighs his options, he chooses sleep. We then learn about dahlia and her family, without the blood donation... She dies. At that point your hero awakens from a dream, looks at the clock and sees that only 5 minutes has passed. He gets up, gets dressed and runs to the hospital. His heart pounds. Cut to the hospital, the clock ticks, but it clicks backwards... As if it is ticking down. Finally he arrives at the hospital and donates the blood. Dahlia lives. The end.

Remember, you're idea is technically a beat the clock thriller.

I would crosscut between the two phone calls, the two options, you never know who is connected to who and then proceed with the climax of who was saved. Use the beating of his heart, when he's running to coincide with the ticking of a clock in the hospital. In fact, I probably wouldn't show Sarah until the end. Make the audience feel for and root for dalia. And then do the reveal that her donor never showed. Show Sarah, happy and healthy as dalia lies there dead, covered by a sheet.

I have a set in d mount that I use with my Pentax q7... Great lenses.

I think A6000 owners have Panasonic and the G7 to thank for this firmware update.

Nice!!! They seem like the perfect combo for either the D16 or the BMPCC. I loved the shots with the 10mm and the flowers... The flares were awesome.

Very nice. The BMPCC footage looks excellent. And the RX100ii holds up pretty damn well. Congrats!!!

It's pretty damn close. The very first moving shot I noticed a difference, but that was really it. Maybe a little more contrast with the protune and a hair more blue in the sky. Your gimbal shots are great. How much does that go for?

I think you're overthinking this. But, in some ways, especially the original, I think the Vegas downsample looks the best... Even better than the 4K. I notice it in the textures of the concrete balcony, specifically. The whole image looks weightier as well. If anything, I think you helped me decide that 4K downsampled to 1080 is the best way to deliver 4K footage.

Seriously, I asked the same question last week for Mac. It seams Christina is on the right track with Neat Video, but Dark Energy is supposed to be excellent as well, but more expensive, but I think there is a discount code through no film school.

Plug in more lights...

Lafilm, do you have a distribution deal? Zak, has been kind enough to answer any questions on his. If you do, I would love to hear more about it.

What's nice about that yashinon, is that it looks pretty good right out of the box. If you need a quick turnaround time, that is a nice lens to have. The color and contrast are well balanced.

Thanks Ebrahim, I'll have to test that.

I am new to post work and I found Resolve to be Greek to me. I am usually pretty good with figuring out programs and how to do effects and such. But with Resolve, it took me a tutorial to figure out how to import footage, I didn't realize I had to input where the source footage was before I could access it. It just seems like a little bit of overkill for my needs. But thanks for the help, it has been invaluable. I'll have to give Neat a go. I have read that people usually do their noise reduction before they correct or grade... Is that true and is there a reason for that?

Yeah, I would imagine a denoiser would be a necessity if you're an industrial, or commercial filmmaker, just in case. I don't mind a little grain, or soft footage... I think it looks more filmic. Anyway, thanks for your thoughts, guys.