Welcome to Pull My Focus, adventures in the technical and business world of video filmmaking, where we provide you with tips, tricks, and guides you need to produce great video. We post new videos every other week on pre-production. production, and post-production topics related to filmmaking, video production, and content creation.
Are the transitions always linear, or can they be shaped, like half a sine-wave, so the transition starts slowly, speeds up, then ends slowly? Or is that only used for wipes?
Could you answer please a question for me? How long would it take to process a shitty quality video - 1280x720 30 fps - like the first one you show on the video, to 1920x1080 60 fps? A 30 minute video. Based on your GPU of course. I'm thinking about buying GPU just for Topaz, so if you could help that would mean a lot. If you could do a preset in 5 minutes that would save my ass.
Good tips, but one error that needs correcting so people don't develop a false sense of security. RAID 5 does NOT allow two drives to fail without losing data - it only allows for one drive to fail. RAID 6 allows for two drives to fail without losing data.
Fantastic and hilarious video! I can't believe I didn't know about the infinity focus markings on some lenses in combination with their aperture number. You're the first video I've seen on the subject that mentions this!
This is an excellent video tutorial, hats off, I bought my DJI Osmo Mobile 3 on Amazon for my daughter in 2020, but she never used it, so I decided to spend more time learning more about how to use myself it because my goal to turn on the active track feature when I deliver a video presentation by myself with my own tripod at conferences. The gesture control is a little tricky, and if you have more advice or instructions on using Active Track + Gesture Control, I would welcome your feedback, Sir! Thank you, Karl Weaver
I’ve been a graphic designer for over 20 years and I still get taken every now and again. I’ve learned a few things. Being nice is good but some see it as a weakness. • Make sure everything is written down. • When possible get a contract or an agreed upon Estimate. • Save all your emails. • Have form letters written out about before you have to send them off to get paid or reminded them on debts. • Stand tall when you have to get paid. • Be patient. (Don’t make, write or say anything when you are angry) • Don’t be afraid to ask for help. • Make sure your books are in order. • Don’t be afraid to call a collections agency if you have to do that. These are somethings I’ve done and it helps
I'm literaly going through it rn. The client keeps making promises and break them. Ghosts me for month and then make a new promise an break it again. I'm super frustrated.
OK, I have been Testing Kyno now for a couple of weeks. Here are a few things are bothering me. As I add my Meta data, it does not actually write it to the file itself. If I send someone a file or want to upload to stock sites, all my hard work of tagging, titling and describing are lost. I know I can export the metadata, but I would prefer it write to the file itself. The other thing is it seems to be a big drag on my system. I have a beefy Mac Studio, but I have seen a real slowdown of DaVinci since I installed Kyno. Kyno itself is quite slow to open the main hard drive that I am archiving to. Many of the previews appear squished in the video player. You mention that you tried Bridge for media management but you found it very limiting. In what ways? I find I can batch tag, get instant previews and blazing fast searches that display perfect video previews of the same files that are squished in Kyno. I have reached out to Kyno support with no answers yet. What features do you find missing in Bridge? Thanks
Thanks for this video! It's super useful. I was searching to see if there's a way to move the timeline markers when I move the clips on the timeline around?
So lux equal to total light projected to an object so lets say a cob led of 3000 lumen project all that trough a magnifying glass what would be the flux ?
As a client I would always want the raw footage, especially for such important moments like a wedding. That way I can hire a a cutter in 10 years, who makes a new master cut or includes old scenes in a new film. You could of cause make a contract with the creator, that the has to archive the footage for the next 70 years, but it is a hassle and a high risk, especially if you moved to an other country and now you somehow have to connect all the film studios, that they can collaborate and produce a new film together behind you back. The other point is remastering the footage in 20-30 years, if we have new standards and technologies. Much easier with raw footage. Maybe we use different color spaces in the future. Then REC.709 is just a bad choice. An other scenario: I contract an other producer in 25 years, who should create a foto album for me about my marriage. How can he match the style of all photos, if he does not have the raw files? The end result would be much worse. A compromise probably could be an intermediate product, where I get edited footage with a high bitrate, bit depth and custom conversion LUTs for other color spaces. It is a pity, that nobody talks about the points mentioned above, wich are, in my view, very valid and fair points.
Diffusion materialss doesnt actually change the actual ray of light coming through it? (2:45) It does scatter the light rays like it is shown it the video (3:27). This natural phenomenon occurs in nature with the sunlight and the clouds. The sun doesn´t move (the hard light source) it is the clouds (diffusion) that are positioned between the light source (sun) and the subject (earth, cities, people etc.). The fact that we can move the diffusion material near or far away the light source doesn´t exclude the fact that the light is being diffused, i e scattered. Correct me if I am wrong but I thought scattered light IS diffused light.
Scattered rays of light are relative to the subject and the light source. The sun can be a sharp point of light in the sky creating harsh shadows. But if I was close to it in a space ship it would loom large and hit me with scattered light from all over its surface. It's the same with a diffusion frame. The wave of light hasn't actually changed.
In different industries, this conversation evolves. My customers sign 5 year agreements with me. There are months, sometimes years, when they miss out and invoice. Depending on the dollar amount, we let it stack up and make it right with them eventually.
Because the point of this video is about shot lists, not lighting. We don't have a full crew and a grip/electric truck to film well lit exterior shots when it's not the focus of the video.
In my case, my client has not paid me for 4 months. They never replied to my email, and I only found out through another freelancer that they said that they did not pay pay because there was an error on my invoice, something I was never notified about. Now I am waiting for my cheque, they told me that it will arrive in 3 weeks and it's already week 4 and nothing has shown up on my address. I don't want to work with them ever again.
My learning is that the Century company made the ubiquitous studio version of these stands and Century got shortened to "C" stands in the biz. The legs are three different heights because then it is possible to nest a bunch of stands very close together on crowded sets by having the numerous legs involved stepping over top of each other. You can't do that with equal height angled legs that have those thin flat spreading braces connecting them. As was demonstrated, there is no space saving to having them detach. In fact it's worse and that's also taking more time.
