Michael Slowe
Forum Replies Created
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Jamal, whether I can qualify as one of your ‘respected experts’ is doubtful but as an EX 1 user I can try and help you.
I always connect two mics to separate inputs as they seem to operate independently. In my menu setting I have it set to CH 1 & 2 and I get individual audio on each channel. It occurs to me that you may have the switches set incorrectly that are situated beneath the XLR inputs. Forgive me if you know this but unless the mic has it’s own power supply the switch has to be set to ‘mic + 48V. If the mic has it’s own supply then set the switch to ‘mic’ which is the middle setting. Then there is ‘line’ on the left side for an amp input. However I don’t believe that this is your problem, it’s just an idea.
Michael Slowe
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Just to add a disc brand to those mentioned by Jeff. For some years I’ve used Verbatim printable discs, both DVD and BD and I get a really nice print on to the white disc with an Epsom Photo P50. That’s probably had an update and a name change but you’ll get the idea.
Michael Slowe
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I’m shooting 1920 X 1080i on a Sony EX 1. Edit in ProRes 422 HQ and use BitVice to encode for my DVD’s. I get great pictures from this software, the downscale from HD to SD in BitVice is first class.
Michael Slowe
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I agree with Ronnie. HD, properly shot on the Sony cameras he mentions, will be perfectly acceptable for a good few years yet. 4K and above is really only necessary for the cinema. Most cinemas are now equipped to project 4K and many feature productions are now being shot digitally. As far as productions destined to be viewed on electronic screens (TV’s and ‘display’ kit), I really can’t imagine that HD is not god enough.
Having said that, the current range of Sony cameras mentioned by Ronnie are great, although my personal choice would be the PMW 300 if you’re not going expensive with the ‘F’s’. It should be constantly stated that it’s the quality of the production that matters, not necessarily the quality of the kit used.
Michael Slowe
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Murray, I always archive my finished productions to a separate hard drive, don’t you? I export from the final timeline as a QT.mov in the ProRes 422 HQ codec in 1920 X 1080i 25fps. This is the codec that I import my footage in prior to editing. A 45 minute production would work out at about 55Gb’s in this codec. Exporting might take about 20 minutes I think.
I hope that this helps, very similar info as supplied by Gerry.
Michael Slowe
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OK Bill but Chris (and others) evidently did.
Michael Slowe
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Please don’t be cross with me but why on earth don’t you use the infallible Sony S X S cards, especially made for the EX cameras? I know that they’re expensive but not as expensive as lost media might be.
Michael Slowe
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Just examined this camera on the Sony stand at BVE London (the Broadcast show at the Excel Centre). I’m thinking of upgrading from my EX 1 but there are problems for me. It’s a bit more awkward for hand holding, (see review by ‘Badger’ in the CVP.com booklet), being a bit ‘front loaded’. Otherwise seems great. How are you finding the new viewfinder / screen? That’s the feature I’m seeking (EX 1 hopeless in bright sunlight). Is it convenient to use? You mention ‘better pictures’, is there a big difference between 35 and 50mbps? Any practical info would be much appreciated.
Michael Slowe
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Probably they are recording completely uncompressed video off the camera using something like the Convergent Design Nano kit. The camera encoder is bypassed and they can get a raw signal into some recorders.
Michael Slowe
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Have you tried gain at -3, I always have that setting unless I’m really in trouble with low light. Not that it would make all that difference but it would help. Shouldn’t have noise with that camera, I don’t agree with JW that “there’s always noise”, I’ve shot with level 9 gain and still no noise.
Michael Slowe