The Technical Side of Filmmaking...

[Cardinal Bunal]

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I-Render man tingali na nimo Ralf, and put the file back into the timeline....

but I think it's best it stays that way kay para dili mudamay ang uban portions sa color scheme nga gigamit nimo sa usa ka portion. Para ma COLOR TIME sad, i-one by one nalang jud na nimo.... or if you choose to use one color scheme, have it that way but ayaw idamay imong credits and closing credits sequence, those things are best done separately.

Again as for merging, I think i-render raman tingali na as one...

[exudos]

wahhhh! ... reason why my editor is demands two colorist... kakiki for a feature... well, that's passion

[Cardinal Bunal]

Perhaps Jomark and Pnoize2k4 will stop by here soon, Ralf....

they are experts in this subject as they are other aspects of the technical side of filmmaking...

[angryliar]

I don't think I would be of help on the issue of combining avi files on Premier coz it's been a while since I've used the software.

Coz for PC I use Vegas and lately I'm more into Final Cut Pro though on some bigger budget productions we use Avid (which I don't operate only supervise).

Anyway, I would like to share something on color grading since you point out what on ordeal it is. When doing so I would suggest having both a broadcast monitor and a regular TV monitor (if the project is intended for tv broadcast) since these 2 have different color settings. The TV monitor will give you a ballpark of what your audience will be seeing both picture look and scanning while the broadcast monitor gives you the more precise color info of your picture.

Before you get into color correction please note that there are 2 ways of color grading, it could be visual or numeric. And be familiar with the tools available for evaluating image information namely: vectorscope, histogram, waveform monitor and RGB parade scope. These tools are very useful as your eyes gets subjected to color adaptation and brightness adaptation - when this happens you will have the tendency to push chroma and luma values higher than necessary so always refer to these tools for guidance.

Once I meet a professional colorist (who used to work with Janusz Kaminski) and his advise is to spend only a maximum of 2 continuous hours in front of your monitor when color timing then take at least a 15 minute break before continuing. This has been a standard practice among colorist while others even insist on spending lesser time to avoid adaptation.Â* Â* Â*

To speed up the process, you can grade one clip using a color correction filter then save the filter as custom. This will serve as your base grade in adjusting the others by simply copying and pasting the filter on the clips where same values are desired. You can make as many custom color grading filters as necessary.

And don't forget to put a Broadcast Safe Filter on all your clips before final output to avoid problems like noise and bleeding.

Don't mean to show off. Just wanna help.

Best regards...

[Cardinal Bunal]

Before you get into color correction please note that there are 2 ways of color grading, it could be visual or numeric. And be familiar with the tools available for evaluating image information namely: vectorscope, histogram, waveform monitor and RGB parade scope. These tools are very useful as your eyes gets subjected to color adaptation and brightness adaptation - when this happens you will have the tendency to push chroma and luma values higher than necessary so always refer to these tools for guidance.

Thanks.....

Kay usually mag "mata-mata" ra ko. hehehehe.

[hornales]

What is the recommended HD video. Vixia HF200, HF100 or HF10?

[jeromemanato]

It's not really on the equipment.... it's more on the technique of how you shoot and edit your film... Also, don't forget the sound design.