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EX3 24p – matching a B camera
I have been shooting with an EX3 in 1080/24p. I want to get a consumer HD camcorder to use as an occasional B camera for certain field shoots. How do I make sure I get a B camera that will be compatible on the FCP timeline? I see the Canon Vixia HF S21 has “24p native” and “24p cinema” modes. What is the difference between “24p native” and “24p cinema”? I see the Panasonic HDC-TM700 has a 24p mode, but I think it’s cinema only. I don’t believe any of the Sony consumer HD camcorders have a 24p option.
Any advice on this choice? -
3 Replies
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How about a Canon T2i? Shoots true 24p and would give you a great look next to an EX3 for the same or less as a Vixia with its faux 24p over 60i mode. (In some cases so good you might just find yourself preferring it to your Sony…).
Noah
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Thanks. Is the T2i sort of a poor man’s 7D HD DSLR? What’s been your experience with it shooting video and workflow to FCP? BTW, Canon claims the Vixias HF-S21 and HF-S200 have true “native 24p” as well as a “faux 24p”/60i cinema mode.
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The build of the T2i is cheaper than the 7D, a little lighter and more plastic has been used. The video quality has been described as equal however. The 7D has a few more features for still photography.
I picked up a T2i to complement my EX-3 and am very pleased with it. I love working with the EX-3 and like the image for the most part but the depth of field look that you can achieve with the T2i is quite amazing. I went the T2i route to test the DSLR waters as I wasn’t sure if the extra effort of using these cameras would be worth it over a real video camera. It was a smaller investment to start than the 7D. Now that I’ve seen the image I’m slowly adding more accessories to improve the operation of it.
Just like with EX-3 footage, I use Shotput Pro to load my original card footage onto two separate drives to archive my master files. With the EX-3 I use XDcam Transfer to convert to mov files on the scratch disk to import into FCP. With the T2i I use Log & Transfer inside FCP to access the files, transcode to ProRes and save to the FCP scratch disk.
Matching the two cameras takes a bit of work as my profiles are a little different. I do that in Color after the fact and haven’t tried to match the profiles from inside the cameras. Audio on the T2i is harder but if you are recording to the EX-3 anyway you’ve got yourself good synced audio.
Jim McNally
The Commercial Factory
http://www.commercialfactory.com
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