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Found 15 results

  1. s_meera1

    Video Editor Wanted in Mumbai

    We are hiring! Looking for video editors to join our team at Filter Coffee Productions at Lower Parel in Mumbai, for Wedding edits. Name of the Company: Filter Coffee Productions Experience: Max 1-2 Year in Wedding Industry Location- Mumbai Salary: As per Industry Standards Contact Person: noopuryadav89@gmail.com
  2. Team

    Video Editor Wanted in Bangalore

    Requirement: Video Editor in bangalore who knows After effects at a professional level also needs to know Rotoscope/vfx/CGI for sci-fi short films.... needs to create 3Dgraphics/logos for artists . will hire on a paid project basis . SOMEONE WHO IS REALLY PASSIONATE ABOUT VFX &CGI we have 3 projects lined up . Links of the kind of work that is required 1. https://www.youtube.com/watch?v=DqO90q0WZ0M 2.https://www.youtube.com/watch?v=XVtcJoTy4K4 3.https://www.youtube.com/watch?v=-3_1F04Sok0 4. https://www.youtube.com/watch?v=1nZKwreCVtU 5. https://www.youtube.com/watch?v=Gj1MqHgFnmE get in touch on wattsapp/ +91 775-7966-906 or call on +91 959 -1947-666
  3. Team

    Editor Wanted

    HocusFocus captures is looking for good editors for wedding with creative editing skills and a good knowledge on color corrections too. Interested people can mail us @ hellohocusfocus@gmail.com. People applying from Mumbai will be taken into consideration.
  4. Job Description we are looking for talented journalists with strong editorial judgment, outstanding video conceptualization skills, and solid writing capabilities. The candidates will be responsible for: Producing a broad range of high-quality video across topics and geographies. Applying a strong editorial lens to conceptualize video stories that fit within Scroll’s editorial scope. Working with a small team of producers, writers and video editors, often under time-restricted conditions, to develop video stories. A passion for current affairs A degree in journalism, communications, or mass media 5 years of editorial experience with reputable news organization Strong eye for quality video, and the ability to conceptualize video stories Impeccable writing capabilities, including strong editing, grammar, and proofreading skills Basic camera and editing skills Contact Scroll.in
  5. To promote simplicity, quickness and sanity, these are forum rules that must be adhered to while posting, else the posts may be deleted. 1. Rules will keep evolving. And no one can object. 2. Film related items only : Do try to buy and sell, meet buyers and sellers, of only film related equipment, like cameras, sound recorders, lenses, microphones, computers etc. Do not try to buy/sell anything outside this domain, like maybe a bike or sofa. Such posts will be promptly deleted and there is a possibility of the member being banned. 3. Indicate Intent and Products in Title: The title of a thread in the Buy and Sell Forum shall indicate the poster's intent to buy, sell, trade, or reference a link to an external auction. For example, WTB: (want to buy), WTS: (want to sell), WTT: (want to trade), OA: (outside of forum auction like eBay), HELP: (asking a general question), or TIP: or FYI: (sharing a useful tip or info), along with the product the person wants to sell. For example : "WTS : Arriflex 435 Camera in good condition" 4. Photographs of the product must be included. When posting, for the benefit of all, post real photos of the very product you are selling. Do not try to find photos off the internet. Users need to see the product they are buying. 5. Suggested Opening for your post: Tem for sale:Asking price:Item Location:Item description:Item condition:Are you the original owner?:DO you have the original invoice?:Items included in the sale (Example : lens cap, carry bag, box etc):Preferred shipment method (courier, personal etc):Preferred method of payment?:Return policy:Special Note: 6. No inclusion of other items in replies to a post to buy and sell. 7. Please be careful. We are only providing a platform for buyers and sellers to discover each other. We are not in any way responsible for the process or the items bought/sold. So exercise all due caution. 8. More rules will follow as we evolve.
  6. Rosario D'mello

    Guiding Tech Media is hiring editors

    http://www.guidingtech.com/60988/guiding-media-guiding-tech-hiring/ Video EditorWe need a young and creative video editor who’s passionate about tech and storytelling. You are someone who Knows his way around the Adobe suite of tools for video and audioIs skilled in audio mixing and video graphicsHas experience of few months to an year of post-productionHas a strong eye for detail and sense of visual designCan work in a fast-paced environment, come up with great ideas and execute swiftlyEmail resume and examples of your work to abhijeet@guidingtech.com with the subject line ‘Video Editor’. This is a full-time position based in Noida.
  7. Team

    Delhi Video Crew Wanted

    A Little Anarky Films is looking for DOP's and camerapersons in Delhi for projects coming up in the month of December. Interested people may mail their resumes to careers@littleanarky.com
  8. Waves Video Contest.
  9. Dolby Professional Reference Monitor The first flat-panel monitor to truly outperform a CRT, the Dolby® monitor offers a new standard in critical viewing. It delivers the most precise color accuracy possible, with true blacks, exceptional dark detail, high contrast, wide dynamic range, and reliable performance over a long lifetime. The Emmy® Award–winning Dolby monitor is the first monitor to accurately display the full latitude of today's high-end digital cameras. It facilitates the creative process for colorists, cinematographers, and video professionals by ensuring that the final image will reflect exactly what they see on the monitor. Dolby’s patented dual-modulation display technology produces images of the highest quality possible on a flat-panel monitor. The Industry-Standard Video Reference Monitor The Dolby® Professional Reference Monitor PRM-4200 is the most accurate display for creating any type of entertainment content. Dolby’s patented dual-modulation display technology produces images of the highest quality possible on a flat-panel display. The first flat panel to surpass the CRT, the Dolby professional video reference monitor is the new industry standard. The Most Accurate Color-Correction Monitor The Dolby Professional Reference Monitor enables the creative process for colorists and cinematographers by ensuring that the final image will reflect exactly what they see on the display. The most accurate color-correction monitor available, it displays the full dynamic range that the latest advanced digital cameras can capture. Renders superior black-level performance, with true blacks, highly accurate dark detail, and precise linearity maintained across the entire gray scale Accurately displays DCI P3, all high-definition formats over HD-SDI, and 2K video content Allows accurate viewing of all image details in the darks, and highlights what other monitors typically clip Displays color looks and previsualization with 1D and 3D look-up tables (LUTs) As a color-grading monitor, the Dolby Professional Reference Monitor uses 3D LUTs to emulate the full gamut and contrast ratio of film, as well as the color profile of digital cameras. This makes DCI P3 color grading possible without the use of a digital projector. Professional Video Monitor with Technical Versatility The Dolby professional video monitor integrates into any workflow, from small operations to large. It supports all of the current and emerging formats that filmmakers are using. Supports 3D LUTs (including Nucoda 3D LUTs), allowing calibration to perfectly match digital screening environments and to emulate the response of film-print stocks during the digital intermediate color-correction process Provides the exceptional reliability of an LCD display Supports not only today’s 10-bit video formats but also emerging 12-bit formats without dithering or downscaling of the color gamut Supports high frame rates of 48 frames per second (fps) and 60 fps Supports Academy Color Encoding Specification (ACES) workflows The Dolby Professional Reference Monitor has a 42-inch (diagonal) LCD flat-panel display with a resolution of 1920 by 1080 pixels and a refresh rate of 120 Hz. It also delivers a wide viewing angle of 90 degrees horizontal (45 degrees on either side of the center point). High-Definition Video Reference Monitor with Superior ROI Each Dolby video reference monitor can replace a collection of other professional video monitors, allowing HD and digital cinema workflows in the same room. Emulates virtually any other display device, replacing a range of other color correction monitors that are also used for mastering and quality control Allows facilities to perform digital intermediate workflows without an expensive digital projector Enables exceptional-quality work that will please existing clients and attract new ones Uses dual modulation technology that outlasts all other display types in color accuracy Dolby is now offering the industry’s first field calibration service. This service helps lower the cost of ownership for the PRM-4200 by eliminating the need to purchase costly calibration equipment. Dolby Display Calibration Services, deployed entirely by Dolby staff, provide postproduction professionals an inexpensive, convenient, and reliable way to ensure that colors remain precise and black levels stay true. These services also enable customers to calibrate their displays to the right color space for a specific project or workflow. Intuitive Access and Additional Features This professional video monitor includes an external remote controller that handles all functions, giving you offscreen, intuitive access to all features, functions, and parameters through simple, easy-to-use menus. The remote controller can be rack mounted or used on the desktop. PRM iPad App Control your Dolby Professional Reference Monitor PRM-4200 in a more ergonomic way with your iPad® 2 or 3
  10. Here's an ad for a home movie camera from July 1977 (The National Geographic Magazine). Contrary to popular opinion, personal movie making equipment has be around for a long time.
  11. Team

    Video Editor Wanted

    Black Ticket Films is a multi-award winning creative agency and film production company based in New Delhi, India We are looking for editors to work with us on a variety of projects (including documentaries, institutional films and corporate videos). Interested candidates can send in their resume with samples of work to: blackticketfilms[ at]gmail[ dot]com Candidates with strong knowledge of After Effects are preferred.
  12. File Format MPEG-4 AVC / H.264 Variable (averaged) bit rate File Size Recording Sizes: 1920 x 1080 (Full HD), 1280 x 720 and 640 x 480 Frame Rates [1920 x 1080]: 30 fps / 25 fps / 24 fps [1280 x 720]: 60 fps / 50 fps [640 x 480]: 30 fps / 25 fps Continuous Shooting Time Based on 8GB Card: [1920 x 1080] 30 fps ALL-I: 11 min. (685 MB/min.) / IPB: 32 min (235 MB/min.) 25 fps ALL-I: 11 min (685 MB/min.) / IPB: 32 min. (235 MB/min.) 24 fps ALL-I: 11 min. (685 MB/min.) / IPB: 32 min. (235 MB/min.) [1280 x 720] 60 fps ALL-I: 12 min. (610 MB/min.) / IPB: 37 min. (205 MB/min.) 50 fps ALL-I: 12 min. (610 MB/min.) / IPB: 37 min. (205 MB/min.) [640 x 480] 30 fps IPB: 97 min. (78 MB/min.) 25 fps IPB: 97 min. (78 MB/min.) * If the recording time reaches 29 min. 59 sec., the movie shooting stops automatically. * Movie shooting does not stop when the file size reaches 4GB. Focusing Same as focusing with Live View shooting * During movie shooting or if movie cropping has been set, the image cannot be magnified for manual focusing. Range ISO Range ·P, Av, and Bulb: Automatically set within ISO 100 - 12800, expandable to H (equivalent to ISO 25600) ·A+ and Tv: Automatically set within ISO 100 - 12800 ·M: Auto ISO (automatically set within ISO 100 - 12800), ISO 100 - 12800 set manually (in 1/3- or whole-stop increments), expandable to H (equivalent to ISO 16000/20000/25600) * If Highlight tone priority is set to enable, the settable ISO speed range will be ISO 200 - 12800. Exposure Control (1) Program AE for movie shooting * For shooting modes other than manual exposure and bulb. * Shutter speed (1/30 - 1/4000 sec., signal accumulation time), aperture, and ISO speed automatically set. (2) Manual exposure * For manual exposure. * Shutter speed (signal accumulation time), aperture, and ISO speed (auto/manual) manually set. The shutter speed (signal accumulation time) is limited to 1/4000 sec. at the maximum and to 1/30 sec. at the minimum for 24/25/30 fps or 1/60 sec. or higher for 50/60 fps. Exposure Compensation Up to ±3 stops in 1/3-stop increments * For movies, even if exposure compensation has been set beyond ±3 stops, exposure compensation up to only ±3 stops will be applied. * For still photos, exposure compensation up to ±5 stops can be applied.
  13. aditi

    5D SLR Videographer wanted

  14. ClipWrap (AVCHD is a compressed format which does not play well or at all in FCP. Any which way, you will have to convert it into an editable format) ClipWrap rewraps the video samples from your existing m2t, mts, m2ts files without re-encoding them. This means blazingly fast convert speeds and no image degradation. Need your files in ProRes, AIC, DNxHD or DVCProHD? ClipWrap can seamlessly convert your files. Don't worry about frame size changes, gamma shifts, or any of the other problems resulting from mismatched settings - ClipWrap chooses all those based on the source file's format. ClipWrap speaks your camera's language so you don't have to. It automatically parses the file's format and chooses the proper output format, so there's no hassle trying to determine the proper settings (frame rate, image size, gamma levels, etc). Timecode is recreated in the new QuickTime movie, so you can recapture from tape later if necessary. ClipWrap costs only some USD 50! ------------------------------- What Apple says about AVCHD You can transfer AVCHD footage to your scratch disk using the Log and Transfer window in Final Cut Pro. The workflow for transferring AVCHD footage from a camcorder or disk is similar to the Panasonic P2 workflow. However, there are some important differences: AVCHD support is available only on Intel-based Macintosh computers. AVCHD camcorders typically connect to computers via USB 2.0, not FireWire. DVD-based AVCHD camcorders are not currently supported in Mac OS X. Standard definition video recorded with AVCHD camcorders cannot be accessed in the Log and Transfer window. Preview of AVCHD video in the Log and Transfer window is limited to 1x forward playback. Scrubbing the playhead does not update the video in the Preview area until you stop scrubbing. AVCHD footage is transcoded to the Apple ProRes 422 codec or the Apple Intermediate Codec. You can choose the destination codec in the Log and Transfer window preferences. When you choose to transfer AVCHD audio in the Logging area, audio is automatically mixed down to stereo. It is not possible to delete clips on an AVCHD volume, even if read-and-write permissions on the volume are set to allow file deletion. This behavior is different on P2 volumes, where clip deletion is allowed when proper read-and-write permissions are set. AVCHD files are transferred as entire files from beginning to end. It is not possible to set In and Out points before transferring the clips. Read further on Apple's Website here.
  15. A lot of people now use it to add timecode / reelnames to DSLR shot video, in order to have dupe detection. But it can used for a lot of other workflows as well. (Eg better media management of non-timecode sources.) Get it here. There is new Avid support: Speed changes to import worry free, or import trough an ALE and get TC and TapeName info as well! And it now can also output BWF files, with or without speed changes. All BWF files will be 48 Khz, even if the source is 44.1 A small word of wisdom: 30 FPS from the Canon 5D mark II can in fact be used in a 29.97 FCP timeline. You then have a 1:1 frame relationship. This is good. BUT, your sound will be out of sync. This has nothing to do with this application! So it's best to first conform the clip to 29.97, then add Timecode, then edit. A brilliant new feature is to get the original time from the Canon's metadata. Not only it is more accurate (1/100 of a second), but you can now transcode first to anything you like, and then add the timecode. So make sure your THM files travel all the way with whatever form you render to! (Just copy them into the same folder as you render to.) This tool will let you batch alter QT files. Use it to alter properties, or to add TC / Reel info. It is compatible with QT files created by Nikon or Canon cameras. So with this, you can add Timecode, either Rec Run style, or Free Run style. (In the case of Free Run style, time and date from the shooting can be used for TC / reel info. Main features include Add Timecode, 'free run' or 'rec run' style Add timecode based on THM files / metadata (more accurate, works with Canon created clips) Extract THM files if they are embedded in the QT (like a Canon 60D writes) Extract sound to 48 Khz BWF files (with optional speed change) Add custom reelname(s) Change Reel info Offset sound (to fix sync problems) Change display settings Change qualtiy settings Change speed settings Change amount of tracks (well, delete tracks...) Add burned in Timecode Flatten movies after changing Export / transcode movies and alter them at the same time And it can add TC and Reel info from an Avid ALE. This post has been promoted to an article
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