Clint Fleckenstein
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COW Coin
Forum Replies Created
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If you were in the USA I’d point you here:
https://www.servicesplus.sel.sony.com/sony-part-number-A1991188A.aspx
Not sure about France.
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Yeah, with the XDCAM EX cameras I use Tiffen T1 IR filters to knock down the near-IR frequencies. These cameras don’t filter that light in order to have a slightly wider color gamut, if I recall correctly, so under certain conditions you definitely want to employ the proper filter. There are videos out there going back to the original EX1/EX3 which show the “blacks are brown” issue and the difference an IR filter can make.
Clint
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I’m always one to stick my tongue in the fan, but if I was in your position I’d dive in after it. There’s a chance that one little shred of broken plastic, perhaps even unnecessary, may be the culprit. If the thing is worthless as a camera right now, why not?
The parts diagrams are available on Sony’s Pro Support site, might as well experiment with it. Could be fun! 🙂
Clint
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I use those adapters to go between DMX and Microplex lighting equipment, which are either 3-pin or 5-pin. I don’t think they would work for the application you’re describing. Pinouts are probably different. I’d go with the Sony cable.
Cf
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Must be a glitch. First, lose the dash. Second, type PMW200 into the field labeled “Model Prefix starts with:”. Oddly enough, the results that come up use PMW200 as the model number.
I get an alert that says it’s only listing 500 parts – so hopefully what you’re seeking is included in the search results. We could always call Sony and tell ’em about the glitch.
Clint
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I have gone to Sony’s ServicesPlus website many times in the past:
https://www.servicesplus.sel.sony.com/sony-parts.aspx
You can look up the parts using schematics and search tools. Very handy.
Cf
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I used the analog version of this mic long ago, and have purchase requisitions on my boss’s desk to get a couple of the D11s as we speak. So my recollection is a little foggy. But…
If you set the transmitter to “LINE” you’re just telling it the level of the incoming signal. It will then normalize that signal and send it to the receiver. The receiver will not know whether or not the incoming signal originated as MIC level (the included capsule) or LINE level (an external source such as your console). The transmitter is then going to provide a mic-level signal to the camera.
What I don’t remember is if there’s a setting on the receiver to specify line level. If there is, I believe it’s in the menu, not just a switch. This is where my fuzzy memory is a problem.
Evidence of this is that you get clean sound as your original post described. I wouldn’t worry about it.
Cf
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I use the import dialog in the project view. Import the folder containing the footage (don’t worry about all those subfolders). It will pop up a little error box indicating the various metadata files it can’t import, which is no big deal. The MP4 files will show up correctly.
Cf
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I left one job where we shot with EX1/EX3 cameras to this job, where we hadn’t made a transition away from ENG-style DVCAM. I did purchase PMW200s after a while, and really miss two things:
- The pivot grip – I shoot in a lot of tight quarters where this feature is extremely helpful.
- Shot Transition – I used this a lot in the past, so it was a real bummer to see it omitted from the newer cameras.
I’d trade 50Mbit for these features in a heartbeat, because in my circumstance they make that big a difference to my work. Your experience may be different.
Cf
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I use Premiere Pro CS6 on Windows, but I don’t transcode. No need. It works natively. Do you have a specific reason for wanting to work with Quicktimes?
Cf