Alan Lloyd
Forum Replies Created
-
A Sony PXW-X70, while not amazing in low(er) light, will give you everything else you want. And it’s small, portable, and not that obtrusive.
Given your stated budget, you could get two X70s with their 4K upgrades and a handful of XAVC cards.
It’s OK up to 9 db or a bit higher under most circumstances.
-
Unless you have something akin to a CCU tied to scopes to work with, you’ll get results as good, and far easier to work with, by chipping where your subject is, with the real-world mix of light that will be falling on them, and setting your white level to around 70-80 IRE before hitting the “WB” button.
-
They’re highlighted? The timeline is active?
-
You might have noticed that it was a (regional) public TV project, not a recurring gig.
Both examples were also from the same show.
I did very little other work with the aforementioned director after that, and he’s since passed.
My point was that it was two absolutely useless incorporations of something he had and thus felt was necessary. We’d have been better off if the jib had stayed home while we were out on the road for the two weeks production took.
-
You’re welcome.
(Back after building for a live webcast tomorrow, though not using the X70.)
-
In fact, I have a couple very specific examples to cite.
I worked (DoP) on a documentary some years back, got lots of PBS air around the middle of the US, where the director demanded we use his jib for two shots it was incredibly ill-suited to. One was a lengthy walk-and-talk with a non-pro talent who needed at least 17 takes to get an incredibly lengthy (several minutes) discourse even close to what had been scripted, and burned hours on it. Several of us, me included, pleaded with Mr. Director to change the approach, at least break up the soliloquy to make it manageable, to no avail. By the time we got a usable take, on a 90+ degree humid day, everyone was well-frayed, and dripping with sweat.
The second was on an inclined surface where an antique car was supposed to drive up. His jib tripod leg could not carry the weight of the setup and kept falling off level, not to mention it was very difficult to control because of that. Finally, I simply refused to use the jib, got my trusty Vinten out, and we just had the car drive up. No one watching the finished show was the wiser and it just worked.
Overall I am quite proud of the show, it was even an award-winner, there were just a few decisions made beforehand that locked us into some unmotivated “shiny things” that we’d have been better off without.
-
You need the special Sony USB-to-“pigtail” cable that’s sold as an X70 accessory.
And you’ll need an RCA male to BNC female connector for the video line from that. The BNC on the back of the X70 is SDI only.
-
Simple. Set your keyframe, go into “motion” in the effects control panel, and either type in a new X coordinate or increment it by mousing.
-
I’m guessing here, because I can’t see your files, but…
I’d at least try the following:
Hold down “alt” and drag the resulting copy of the logo up two tracks. (If there’s no additional track there, Premiere will generate one.)
Then load the film grain clip into the track between the logo and the logo copy.
Then go into effects > keying > track matte, applied to the film grain. Select the track with the logo coy as the key source, and set the method to “luma” and the white parts of the image should act as a key source, in 1:1 relation to the original image, and key the grain over the white parts.
Hope it works – it sounds like it should.
-
That sounds a lot more like a hardware issue.