Well done Bradley. I wonder if a much shorter edit would be stronger?
I know it's stating the obvious, but the problem with lots of 'footage' is that it tends to be whatever beginners shoot before they have any real projects in mind. Nobody really makes films about cats, the local park or cars passing at night. So they tend not to look filmic, however much teal you can push into the shadows.
If we spent as much time/money finding interesting things to film (or interesting places to film in) as we do on gear and tutorials, we'd be so much closer to a 'filmic' result before we even sit down to grade.
This, of course, doesn't mean we shouldn't learn about grading and other post. So thanks to all those providing tutorials.
The NFS point system involves a complex calculation based on the number of posts you make, your height, the calorie intake of your neighbour's pet and the orbital speed of Neptune.
This figure is then multiplied by the current number of requests for an 8K GH6 in any active threads.
Hope that clears things up.
Hey Prosper. First, the annoying answer - best to capture good sound, rather than fix it later. Place mics as close as possible to the thing making noise. Consider filming in a different place or at a different time if the environment is too noisy. Use headphones and listen to what your camera/recorder hears, rather than just looking at meters.
Other thoughts... Experiment with EQ, especially high-pass filter to chop-off boomy noises and careful boosting of higher frequencies to help voices seem clearer.
iZotope RX will give you a denoiser that works well. It can also be used as a poor-man's 'de-verb'. The more expensive version includes a proper de-verb.
If you're using music behind recorded sounds (voices, etc), choosing the right track can help hide some issues, like hiss or room noise.
Use the key framing in your editing software to bring audio levels up and down. You can also record some ambient sound (even if it's just in the room you're using, when nothing else is happening) and then use this on a different track like sticking-tape to cover edits, avoiding the sound seeming to change suddenly.
Alas, not. The HDMI output remains 8 bit. Also, the Video Assist can't manage the pull-down needed from the C100. I hope BMD add this - they would probably steal the crown from Atomos for many users.
Lots of cinema-based answers here, which makes sense on this forum. But I can think of plenty of documentary scenarios where controlled lighting isn't just impractical, but entirely inappropriate. I'd also suggest that moire and rolling shutter issues will be the last thing on your mind when grabbing shots under pressure.
I filmed lots of jobs with small, high bit-rate cameras, always trying to take a 'cinematic' approach. It was just a massive pain. I picked up a C100 mk2 recently and wish I'd done so a long time ago. Many clients either can't see or aren't fussed about the nuances between cameras and bit rates, glaring though they may be to us. Long battery life, built-in NDs, viewfinder/monitor combination, good high ISO performance, one-shot autofocus, tiny file sizes, dual card slots for back-up, powered XLR inputs... It's such a different experience.