Needs advice on Cam for Music-Video!

Is the Sony HDR-FX1 a good choice to shoot Music-Video's and is it also the same HDR-FX1e.
Secondly the reviews on these Cam says PAL, so would it make a big difference in comparison to NTSC, or can you change to NTSC while your in FCP.
And what is the big difference in Shooting in PAL or NTSC?
Or even to edit in PAL or NTSC other than one being American base format and the Other European?
And how good is the Mic on the Cam or is it better to get another Mic in doing live Recordings on locations?
And whats the best intergration with Logic-Pro 7 ?
L.P. 7.1.
L.P. 7.2.1
L.P. 7.2.3.
Or is it better with Logic-Pro 8?
And does it runs flawless on Tiger 10.4.9, in short what is the best OSX, or should i update to Leo?
Fr.BlayZay.

I read about Panasonic AG-DVX 100 Cam that shoot in 24f and before its print in FCP, the pull down takes it to 29f.
And the Sony i believe shoot near enough the same as the Panasonic.
So if that's the case would the conversion of FCP for the pull down come out alright, there is no point really in jumping to another Forum when the integration is with FCP!
Just need to get a cam that integrates well with FCP for a budget of under $4,000.00 and in the range of 29.97f,
Fr.BlayZay.

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I totally understand.
Check some things from here, I have 2 and they have been great so far.
Check here, lots of storage and reasonable prices. Also great support, you get to speak to a person
Clean off your on the G5 drive and off you go.
I suggest buying a second drive and setting it up for a back up, Time Machine or Carbon Copy Cloner, or SuperDuper (both "bootable" back up) All searchable on the web.
http://eshop.macsales.com/search/elite+pro
You can talk to a person for REAL advice, Phone: 800.275.4576 Ask about exporting to your G5 and and exporting to your existing OSX, you may only need a small inexpensive drive for this.
Quick delivery and willing to help.
Hope this makes you back up and running :-)
Do get a back up drive, as it is not ""whether my drive will fail, as much as "when my drive fails"
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Iso, Shutter Speed, Aperture, White balance for music videos or film?

Hello everyone. I just started making music videos. I just want some tips or can someone direct me to a good guide for music videos. I know the basics of iso, shutter speed, and aperture already. I read some guides and so far I know I gotta put my shutter at 1/50 or if i'm recording something at high speed, i increase it. is it so? Also, I always put my aperture at the lowest. I have a Canon T2i and Canon lenses 50 f/1.8 and kit lens. I always put my aperture at the lowest 3.5(kit lens) or 1.8. The tricky part is the ISO. I don't know where to put my ISO. I know the lowest ISO is good but sometimes the video looks dark. Do I fix this in video editing programs? Like should I always stay at ISO 100? What about white balance? I use Final Cut 7.
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your questions are about the very basics of photography.
I would consider to buy a book, which explains photography 'from the ground' ("... for dummies.." not meant as an offence!)
in short:
a scenery offers a defined amount of light.
Your cameras 'film' aka sensor, needs a defined amount of light to deliver a picture.
So, on recoprding, you have to control the amount of light, and the controls are:
aperture - opened or closed
shutter - shorter or longer
speed (ISO) - higher or lower.
Imagine the light as a stream of tiny balls, coming from your scenery: a bigger hole = aperture lets more balls into the cam. A shorter shutter speed reduces the amount of balls. And a higher ISO catches more balls than a lower. ..
Understanding that, you realize that those parameters are crosswise-related: an open aperture + a shorter shutter speed results in the same amount of light on the sensor as a closed aperture and a longer shutter speed.
If the amount of light is still too much, lower the sensitivity = ISO.
If the amount of light is too little, open the aperture, or use a longer shutter speed or raise the sensitivity.
When you set one or two parameters in this equation, you have to adjust the other ones: Video-makers start with the shutter speed, usually set to 1/2 of frame-rate = 1/50 - 1/60 - why? Because it allows a nice looking 'smear' aka motion-blur aka 'film look'.
Now, with a given speed, you can conrtol teh amount of light for the sensor only by aparture; and when you reach limits, by setting ISO.
When you understood this BY PRACTICING, you're next step is the concept of 'shallow focus'/depth of field. And when you understood this BY PRACTICING, you'll will understand the need of Neutral Densitity Filters for movie-makers...
But first things first: buy a book; read your cam's amnual; practice the settings and watch carefully the different results, diff. settings result.
... and it's really just about basics - independently of your device and/or your software.
None of the things mentioned above can be done or 'fixed' in post... (basically...)
happy movie making!

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Advice for music video

Hi All
I am in the early parts of pre-production for a music-video. What I want to achieve is high contrast images in B & W of the band in a white studio, and then fill in the white with different kinds of stuff (kaleidoscope etc.) - the Gnarls Barkley "crazy" video is a good example.
I have done a few tests in FCP and AE in terms of keying out the white. The first problem I encounter is off course that AE's wonderful keylight effect cannot be used on Black or White colours ( I hadn't planned on shooting in front of a green/blue screen). Secondly, using AE's luma key I get the effect I want, but the key isn't that good. Then when I export I have to export the file as an animation which results in a space and rendering nightmare in FCP.
So, have anyone out there done something similar? How did you do it?
Is it best to shoot green/blue screen, or shoot high contrast footage, make into B & W and use the luma key?
Use FCP or AE? If AE any other way than the Animation codec for preserving transparency?
Can AE's keylight be used with B & W footage?
Is there a kaleidoscope filter for FCP? I know motion has a good one.
Cheers
-j-

Warning: You're going to get lots of contradictory answers because I (we) love to offer advice on projects where my (our) money and time are not at risk. That's part of the elitist attitude around here.
Is it best to shoot green/blue screen, or shoot high contrast footage, make into B & W and use the luma key? <</div>
I'd plan on shooting on a chromakey stage. If you shoot on white cyc, you are stuck with the white. If you shoot on a properly lit key stage, you can do anything. This depends on your ability to shoot on a suitable format and use a crew that knows how to light a key stage. You need a really good camera and good tape format. DV is out of the question.
Use FCP or AE? If AE any other way than the Animation codec for preserving transparency?< </div>
Why do you want to use something other than Animation? You can use a proprietary codec system that supports alpha but you did not mention access to specific cards.
Can AE's keylight be used with B & W footage? <</div>
Dunno, try the AE forum at adobe.com.
Is there a kaleidoscope filter for FCP? I know motion has a good one.< </div>
You're not going to be doing your effects in FCP.
bogiesan

Slight slow-motion for music video with Canon 6D

Hello.
I'm wondering how I should capture and edit my video to get slight slow-motion in a music video I'm creating. Obviously I would need a proportionally sped up track, like 120%. That I can do.
The question is, what frame rates should I be using? Shouldn't it matematically fit? Like capturing in 29.97 FPS with ~120% track and editing in 25 FPS. How can I do this so the result is perfectly smooth?

Warning: You're going to get lots of contradictory answers because I (we) love to offer advice on projects where my (our) money and time are not at risk. That's part of the elitist attitude around here.
Is it best to shoot green/blue screen, or shoot high contrast footage, make into B & W and use the luma key? <</div>
I'd plan on shooting on a chromakey stage. If you shoot on white cyc, you are stuck with the white. If you shoot on a properly lit key stage, you can do anything. This depends on your ability to shoot on a suitable format and use a crew that knows how to light a key stage. You need a really good camera and good tape format. DV is out of the question.
Use FCP or AE? If AE any other way than the Animation codec for preserving transparency?< </div>
Why do you want to use something other than Animation? You can use a proprietary codec system that supports alpha but you did not mention access to specific cards.
Can AE's keylight be used with B & W footage? <</div>
Dunno, try the AE forum at adobe.com.
Is there a kaleidoscope filter for FCP? I know motion has a good one.< </div>
You're not going to be doing your effects in FCP.
bogiesan

Timing beats for music video - workflow best practices?

Hi all,
I am currently working on a short video that needs to be timed to music. Obviously in some respects, a tool like Final Cut or Premier would be more suited to the task in certain ways, but for reasons of the technical specification of the output, it has to be done in After Effects.
So I am trying to nail down a good workflow for timing various elements of the project to the beat of the soundtrack. What I'm doing so far is, I have expanded the waveform of the soundtrack so I can get some rough visual on where obvious changes happen. See the screenshot to the left. I placed a marker on the exact frame where the drum kick happens, where I would want to do something cool with the video.
This is obviously of limited utility, because although the beat does coincide with one of the peaks of the waveform, it's not apparent from looking at it which one it would be. It's also not quite possible to ascertain the exact frame on which the beat happens using this method, as each peak is several frames long and includes several elements of the audio.
So the next thing I tried is simply listening to the track with RAM-preview, and pressing the * key to place markers on the soundtrack on the beat. Maybe some of you are better at rhythm games than I could hope to be, but I find that while this lets me put down a lot of markers quickly, it's very inexact.
Which, alright, is to be expected - I might not get every marker on the exact frame on the first try, but I can go back and slide them a few frames, right? But the problem here is with scrubbing audio, and with visual feedback with the playhead. When you RAM preview, the playhead does not update on every frame - it updates only every seven or eight frames or so. Which means that if I watch the timeline to see if my markers are in the right place, I can't tell when the playhead passes over them.
So instead, I hold down the Ctrl button and scrub. This kinda works, but the playback of the audio is quite choppy and discontiguous. As such it's hard to get a sense of each frame as part of the song, and even if I do hear a beat it's hard to recognize it as such (this technique works better in Final Cut somehow, for some reason it manages to scrub while sounding less discontiguous). So then what I do is I stop on a frame I think might possibly be the beat, and I hold Ctrl and Left Click on the playhead, which loops a short segment (five frames?) of the audio. Then I do the same for a few frames before and afterward, just to make sure I targeted the right frame. Now, finally, I have the marker in the right place for a single beat.
There's got to be a better way.
I wonder if anyone who has been faced with this problem has figured out a more effective workflow? I am thinking there might be a separate piece of software I might use that lets me go through the audio and place markers better - and then allows me to somehow export marker data to After Effects? Or maybe another workflow I haven't thought of.
Your thoughts?

Cutting music accurately to beats is usually a simple matter of math. Most music, especially music with a strong beat, runs at a specific number of beats per minute. That's usually easy to figure out. There are times when you have a tempos shift or a fermata, acc. or ret. or other change they are usually for a short duration and pretty easy to fix. Figure out the tempo and you're about 90% there.
Another tool, and one that I use quite often is Sound Keys from Trapcode. This is much more versatile than using the built in Convert audio to keyframes.
If I have a fairly long segment that has a bunch of beats quick beats I will sometimes create a small solid, add hue and saturation to the small solid set to colorize, add this expression to colorize hue - index * 140, trim the length of the layer to the length of the beat, then duplicate the layer for as many beats as I want to cover, sequence the layers, and then use that layer sequence as a guide. The setup looks like this:
You could also use a loopOut expression on rotation to rotate a small layer say 45º on every beat. For example, if you had a beat every 20 frames set 3 hold keyframes, one at the first frame for 0º, one at frame 20 for 40º then put one at frame 40 for 0º and simply add the expression loopOut("cycle") to rotation. Now the little cube would snap to a different angle on every beat.
These tricks will help you with some fast cuts right to the beat but let me give you some advice on cutting to music that I learned 42 years ago (yes, I am an old guy) when I was learning to edit to music at my first job in film. My mentor had been in the business since 1952, had worked as an editor on a ton of feature films and a zillion commercials. He told me that if you precisely match the beat, which was pretty easy to find and mark with a wax pencil on mag stock, your cuts will look out of sync. The problem with that precision is that the eye and the ear are not precisely in sync. The lead or lag time depends on the shot, where the shot is taking your eye, where the cut moves your eye, and the mood the music is creating. The best technique is to listen to the music and place markers as you tap out the beat. In the old days I did this by tapping a wax pencil on the mag stock as it ran through the Steenbeck or Moviola, today I do it by tapping the * key, then I cut and adjust the cut point letting the shot dictate when the music and beat line up emotionally. You'll get a better result and your work will go much faster than fussing around trying to precisely match the beat with every cut. I have shifted cuts as many as 4 or 5 frames ahead or behind to beat to get sequence to feel right.
I do use the two techniques I listed above to cut short segments of very tight cuts and they help save time, but setting your comp resolution to auto and your comp Zoom factor to 25%, ram preview to "From current time," and just cutting to the beat by feel will give you a much more pleasing and emotional response to your sequence than precisely and mathematically exactly matching the beat. The final piece of advice I can give you about cutting music is to make the first cut, then walk away for at least a half hour, then come back and look at what you have done. You'll instantly see where you need to make adjustments and it will take you less than half the time to cut your sequence.

Water damage speaker doesnt work for music/ videos

I was on the shower and a bit of water hit my iphone 4s specifically on the ear speaker, though it is still working ear speaker is not and cannot play music/ videos using the speaker, but I can use the speaker when talking to someone on the other line, its either that or I use and earphones. What do I need to do?

Put it in a container with rice, close it and pray hard that the damage isn't permanent. I know someone who had a similar situation, got lucky and their phone works perfectly. I also know another person whose phone was permanently damage.
Also, remember it is never good for your phone to be in places like that, it can be damaged not just by accidental splashing but also by steam and overall humidity. In short, iPhones and shower rooms don't mix.

Adding Audio from a Premiere Layer into AE for music video

Hello All, My situation is this.
I'm doing a Dance remix Music video. The original song was a ballad. The footage used for the Dance Mix consists of both the ballad clips sped up (ballad music was at 61 beats per minute) and footage shot to the dance track (127 BPM) all of which is Green screen.
The way that I approached it was to put the .wav song on one track in Pre Pro and then I synced up the rough mix edit clips to the main music track, time stretching the Ballad clips, making the mouth movements match and body movements move in rhythm. After I got all my rough edits done I discarded their audio tracks as I thought that I would not need them further, and it was too many tracks to look at (Pre Pre could use a Shy switch). So I ended up with one Audio track and 12 Video tracks, each track containing one pass of the filming.
Then I selected each rough edited clip and used "Replace with an AE composition". In AE I then did my green screen keying. One Scene I created was a composited club scene in AE where the artist is on a stage and there are flashing lights behind her using several instances of CC Light Sweep on a Solid Layer. When I Dymically Linked back to Premiere the light sweeps were not in rhythm with the music as I had no audio to listen to in AE.
Its a lot of render time tweaking in AE and then going to Pr Pro and having to wait for more rendering to see the results.
My Question is how would I go about putting the audio track into the AE Linked comp. The song is over 5 minutes and most of the clips are a few frames to a couple of seconds long.
I think my approach was wrong in the first place and that I should have made an AE project the length of the song and done all my editing and compositing in that one Comp instead of putting things in Pr Pro first, which now makes sense, since I don't see any benefit of being in Pre Pro at this time. And I don't see any way of including part of the audio track when making the AE Linked comp.
Thanks

I don't really get the problem, I must admit. If the final audio exists and the clips have been mangled correctly in Premiere, the timing should match in any case. Why would you even need the clip's source audio? The way to work in AE is to simply create an audio preview and place markers on important cues by hitting the multiply key on the numpad while the sound plays... Everything else shouldn't matter.
Mylenium

Getting audio from Pre Pro into AE for Music Video

Hello All, My situation is this.
I'm doing a Dance remix Music video. The original song was a ballad. The footage used for the Dance Mix consists of both the ballad clips sped up (ballad music was at 61 beats per minute) and footage shot to the dance track (127 BPM) all of which is Green screen.
The way that I approached it was to put the .wav song on one track in Pre Pro and then I synced up the rough mix edit clips to the main music track, time stretching the Ballad clips, making the mouth movements match and body movements move in rhythm. After I got all my rough edits done I discarded their audio tracks as I thought that I would not need them further, and it was too many tracks to look at (Pre Pre could use a Shy switch). So I ended up with one Audio track and 12 Video tracks, each track containing one pass of the filming.
Then I selected each rough edited clip and used "Replace with an AE composition". In AE I then did my green screen keying. One Scene I created was a composited club scene in AE where the artist is on a stage and there are flashing lights behind her using several instances of CC Light Sweep on a Solid Layer. When I Dymically Linked back to Premiere the light sweeps were not in rhythm with the music as I had no audio to listen to in AE.
Its a lot of render time tweaking in AE and then going to Pr Pro and having to wait for more rendering to see the results.
My Question is how would I go about putting the audio track into the AE Linked comp. The song is over 5 minutes and most of the clips are a few frames to a couple of seconds long.
I think my approach was wrong in the first place and that I should have made an AE project the length of the song and done all my editing and compositing in that one Comp instead of putting things in Pr Pro first, which now makes sense, since I don't see any benefit of being in Pre Pro at this time. And I don't see any way of including part of the audio track when making the AE Linked comp.
Thanks

Export just the audio track from Pr as a .wav file and then add it as a layer in your AE comp.
Cutting is much easier in Pr, especially the audio. The first time you try cutting audio to video in AE, you'll know what I mean.
-Jeff

Needs advice on Cam for Music-Video!

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