[Benjamin Devoe]

Are you trying to pair an HMC150 with a DSLR for a shoot? If so I’d like to hear your experience.

[Benjamin Devoe]

Thank you guys for your responses. I owe you each a beer.

[Benjamin Devoe]

Thanks for your help guys; let me just recount the solutions so I can get my head around them.

1) Dave is suggesting I conform the 1080/60i footage to 59fps,then in my 30p timeline RE-conform it for slow-motion with resolution loss.

2) Guy thinks I should conform the 1080/60i to 30p then apply patented slowmo software.

Am I getting this right? Sorry, I’m still confused.

[Benjamin Devoe]

I have TMPGEncore express which deinterlaces by way of various methods including ‘doubling framerate’, but I don’t know if that’s the right place to begin.

Also I realize this thread belongs in an NLE forum notwithstanding the fact that its apropos HMC AVCHD footage. Apologies.

[Benjamin Devoe]

Apologies for splitting hairs guys, especially since I’m getting free advice.

But let me recap my queries:

“Can you pros recommend any specific hardware and/or setups (i.e. how many Lav mics might be called for and what brand)?”

“What are your thoughts on this item?[Azden] What about its design will cripple our production relative to having the SD-302?”

“What features, besides durability would the Azden lack that could produce more professional sound?”

I randomly picked a cheap mixer with good reviews for use as a low benchmark. The SD-302 is on my wishlist, but since I may have to make a thrifty decision at some point in the future, I wanted to know more or less “How is the SD-302 superior?” I.e. if its the best option because I need to capture a lot of dialogue in moving vehicles, I know that when compromising on equipment I can’t settle on something with a lower-quality limiter than the SD. Knowing both the faults of the Azden and the qualities of the SD will enable me to make economical and adept decisions on the in-betweens.

Sorry for the mis-communication.

Best,
Ben

[Benjamin Devoe]

Nope. You’re not missing anything I’m just trying to get a sense of what our sound man will be able to do so the director and I are not technically ignorant of his and his gear’s abilities.

That said, what features, besides durability would the Azden lack that could produce more professional sound?

[Benjamin Devoe]

“Shooting in 16:9 anamorphic is a pretty safe bet these days though.”

Thanks Noah. Will a 35mm adapter work without issue in 16:9 squeeze mode?

[Benjamin Devoe]

Thanks for your response Noah,

There are a few local festivals in NYC and in Seattle we are shooting for–nothing national. We’re just trying to avoid purchasing an add-on that would make our image look strange when shown in a wide-screen theatre.

Beat the horse.

Best,
Ben

[Benjamin Devoe]

Hello Ty,

Thank you for your response, and pardon the belatedness of mine.

That kit is truly superb, and I will try my best to conform to it, but unfortunately the budget may dictate otherwise.

What are your thoughts on this item?: https://www.bhphotovideo.com/c/product/422113-REG/Azden_FMX_32_FMX_32_Microphone_Field_Mixer.html#specifications

What about its design will cripple our production relative to having the SD-302?

Best,
Ben

[Benjamin Devoe]

Hey everyone thanks for the responses.

Does anyone know if the aforementioned lenses are compatible with a simple filter-kit? From past experience I’ve found that Wide-angle converters have more problems with flare and whatnot. I don’t really want to splurge on a mattebox.

I had in mind even something as cheap as this:

https://www0.dealtime.com/xPO-Panasonic-Panasonic-AG-DVX100A-72mm-High-Resolution-3-piece-Filter-Set-UV-Fluorescent-Polarizer-not-panasonic-brand

Ben