Al Bergstein
Forum Replies Created
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Sorry, I wasn’t implying that the SMPTE was going to get more quality for me out of the camera. You are right though, that there are numerous work arounds for SMPTE today, and you and I have been using some of them.
But I bought the SMPTE & Genlock version because if I ever get to a point of needing it, or get hired into a crew that are using it, it may make the difference of getting the job or not. One job like this out my way and it pays for the add on of the two.
Also, for editing, yes, it makes sense to get the TC in there. I have lately been doing multicamera shoots for concerts, and it would be nice to sync them up, though again, you don’t need SMPTE to do that. Jamsync is fine, which I will do now that I have a proper port to use for it.
Alf
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Very interesting. Luckily I don’t use Adobe. I took some files I shot with my demo of the camera and they imported just fine into Vegas 10.c, which I use for most of my none collaborative work (when I work solo). It used the files with no problem.
Maybe Adobe will fix this in the next version. Given that they charge for upgrades of incremental versions, you would hope so!
So for now it doesn’t affect my decision (except the decision to leave FCP or Vegas for Adobe).
I’m more worried making sure that my new camera isn’t got parfocal problems, which apparently some of them do. (remember backfocus on the EX-1?). I’m driving to pick it up today to check on it before taking possession. One of the benefits of buying local.
Alf
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I hear you. I seem to get around the issue you mention, by being able to give the client a clip and the time is in the clip play window. I tell them to write it down. While it might be off slightly, there never seems to be a debate. Maybe my clients aren’t as sophisticated, which could be true!
while I would love to use TC based video, just saying it adds up to a couple of thousand extra in costs for a feature that I ‘might’ need?
If I somehow get compelling ocntent and go to broadcast on cable, is there something in the SMPTE that is needed there? Or is it all stripped out by then? If I output to XDCAM for PBS (just an example) is that stuff still needed by them? would they reject it for not being there? Hope this makes sense.
Alf
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well, Jose, I’m sorry but your english is getting in the way of understanding your problem, and my non english skills are less than your english skills! Anyway.
I have both a 7D and 150 and they are two different tools for different jobs. the 150 has a very smooth zoom, and yes, despite the modern prevailing attitude that no pro ever uses a zoom function, if you shoot things like stage performances you will use a zoom. It might be edited out, but you will use it. And yes, the 150 or any ENG like camera will perform it better than the zooms on still cameras, like the 7D.That’s what they were invented for. Smooth zooming without shifting focus or F stop.
Don’t sell your 7D. just add an HMC 150 to your working toolset for normal daily work. And add the look and feel of a 7D when you feel you need it.
Does that make sense?
Alf
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Just spent a day shooting with this camera. For anyone reading this thread in the future, the MXF files drop right into Vegas and edit with no problem. I’ve not yet tried it with FCP.
Alf
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Certainly an institution, burned into our brains. I now can’t get the jingle out of my head, and I didn’t even listen to the youtube!
I bet he never anticipated that career change when he went to college, if he did!
Voice over can be very lucrative. And quite an art. I once had a guy from Seattle, worked at KING 5 in sales back in the 70s & 80s and now I can’t remember his name (shame on me), but he did VO and we needed a narrator for a 12 minute production. He came and read cold the entire script, first take. We did three takes, but the first was right on the money. It was, to this day, the most impressive bit of walk on (walk in?) talent I’ve ever seen.
RIP…
Alf
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So here’s what I’ve found out. After restarting the program twice, it appears that my solo icons have all be checked. Now, I certainly know enough to know that it’s very hard to beleive I could have done that, since I have been working with variations on this footage for a couple of days. The reason I suspect a bug is that I tried checking and unchecking all the usual suspects, solo, mute ,etc, and they did not change anything. After restarting twice, the solo buttons apparently worked. I have no idea why.
I have a lot more to do with this concert with four cameras and audio track, I’ll likely be at it for the next week. If it happens again and I can capture how it happened, I’ll let us know.
Alf
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Carlton, the debate is too religious. It’s like asking what religion is best.I do try and avoid the FCP forums as much as possible. They are just not open to anything but a FCP love fest over there, despite the obvious issues that are raised. And don’t get me started about FCP ‘media management’ or the lack of it.
I try and remember these are all tools. They do very similar jobs, but are made for different purposes and requirements. We are now arriving at a point in time when all the major NLEs have ‘solved’ the problem (in marketing at this point to be clear) of just dragging your footage onto the timeline and editing without transcoding first. It’s better to transcode, no arguement there, but sometimes the client budget and job just don’t warrant it.
Why I continue to use Vegas is that it does the job for a sole practitioner like me. Not only that, but it does it fast. I save time and money using it. I don’t like some things like it’s color corrector (secondary) and it’s chroma key is pathetic. I have opted for buying Boris’ toolkit.
To be clear, FCP is a very powerful tool, I own it, and use it every week for some job or another. I do like it’s output, and it’s got a very modern feel to it’s built in titles, etc. (come on Vegas, give us more modern title graphics in the package!), yet it’s very temperamental in the way it works. For all the crashes I’ve gotten with Vegas (another one tonight after many days without one), it’s still something I rely on to get the job done quick and easy. Well, my render is about done. Back to work.
Alf
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I’m not wild about DSLRs for video, though I own a 7D. If you want a great video camera, buy a video camera. Panasonic and Sony make great sub $1500 cameras. If you want a great still camera, the 7D or T2i is great. Love em. But they are *expensive* after buying a decent audio recorder, lens, mics, etc. You can buy a really good video camera, plus a Rode mic, for less than a 7D and many lens. The videocam will do a great job. You can learn to work around a lack of DOF. (like putting the subject a long ways from the background, and adding ND filters, etc). The DSLRs all have substantial ergonomic problems with video taping on them.
Under $1500 is really not going to buy much camera. You need to think $2500 and up. You might get a good buy on ebay, but watch out for frauds selling, for example, Japanese warranty Panasonic cams. If you ever need repairs, it can’t be done. They are out there, currently advertising on Ebay.
Good luck!
Alf
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I’ve looked at a lot of footage on different cameras trying to determine the answer to this question over the last few years. The reality is that there is no right answer. There are trade offs. You need to go out and find the look you like and not worry about whether it’s 4:2:2 with 1 sensor or whatever. All these manufacturers make great looking camera images. You need to refine your questions. Are you shooting for TV? Web? Yourself? What is important to you? Do you work in teams? Or alone? interchangeable lens? Tele length? Depth of field? All in one camera for run and gun? What is your NLE?
All these questions will help determine the camera choice, and then you really really have to learn to use the camera. The choice of gamma, knee, on and on will mean way more than whether you are shooting on a CF card or SD card. I use both and it’s really irrelevant. All these technologies are very very good. Better than our fathers ever imagined when they worked in the 50s with technology.
Go worry about your story, and the technology will reveal itself to you.
Alf