[Daniel Stone]

Hey guys,

The shot is, indeed, handheld and the camera operator is causing it to move back and forth – though that’s not the issue. The issue is what the image does when the camera does move back and forth. Watch the side of the car and how it flexes and skews as the camera changes direction. The side of the car appears to tilt toward and away from the camera.

We’ve talked to a lot of people about it in the past week from post guys to camera “experts”, and we’ve done a lot of experimenting – and here’s what we’ve found (I’m sharing this as an FYI):

The EX1 has a CMOS sensor which scans the image from top to bottom, where a CCD sensor scans the image all at one time. This is what causes the EX1 to skew what it sees under certain conditions. Here’s an excellent explanation and demonstration: https://dvxuser.com/jason/CMOS-CCD/

We have learned that CMOS cameras are not recommended for high-action footage (should have done research before we started), footage containing strobing, fast-changing lighting situations or anything that needs to be tracked in post. We talked to another production team from Nat Geo who had the same wobbling issues and, coincidentally, digital media cams (including P2) are no longer allowed for Nat Geo-funded projects (though I’m pretty sure this is just mandated by a technology-phobe bigwig). We’re going to be tracking titles into some of this slo-mo footage for network promos and our post guys said the skewing makes it a no go (it’s certainly possible – it just wouldn’t look very tight).

We did some testing and here’s what we found makes the skewing/wobbling most noticeable (it’s the same for all 5 cameras we tested): filming in 1080p/24, slow motion (though it also does this in regular speed), long zoom, open iris and slow to medium-paced change in direction (such as the back-and-forth motion of a long-lensed hand-held shot). Do this: zoom into a vertical line from across the room, open the iris, put the cam in 60fps (slo mo) mode and move laterally back and forth slowly so the line takes about 1-2 seconds to cross the screen. Then watch it back and see how the bottom of the line catches up to the top of the line as you change direction.

Conclusion: we have to see the camera for what it is- a prosumer documentary solution with some additional cool features. We were trying to squeeze in some promo-worthy “beauty” shots on the fly which should have been done with a different cam. I am certainly NOT saying that the EX1 doesn’t make beautiful images – it’s just that we shouldn’t have expected Sony F23 results from the EX1. For normal documentary filmmaking which includes talking heads and standard cinematic b-roll this camera is excellent. And, to be honest, the average viewer probably wouldn’t care (or even notice) — and to those wowed by 1080p the image size may make up for any other imperfections. Every camera certainly has its downfall but this is definitely a biggie for us.

Thanks again for taking the time to check out my footage and give your thoughts.

[Daniel Stone]

Hi Don –

Thanks for sending that link. Kinda but not really. It only happens when the camera or the subject moves. It’s like the bottom part of the screen lags behind the top part. When the camera moves, the image follows like the worm in that old Atari game.

I’ve attached a file which is actually a very mild example of the problem (it’s the only on I had on my lappy). This sample is 720p30. It’s even worse in 1080p24, and all 4 cameras are doing the same thing. Here’s the link (will stay active for 7 days): https://www.yousendit.com/download/bVlBek9uTWNoMldGa1E9PQ

I’ve done some more research and have found that this is a common concern with the EX1 because of the way the CMOS captures the image (not sure what that means). Though I hate to write off the EX1s, it’s enough of an issue that our exec producer is funding an upgrade to Panasonic HDX500s (couldn’t find enough HVXs for rent for the amount of time we need them). Would still love to find a solution if anyone knows of one so I can be the hero.

Thanks again, guys, for your help and suggestions.

[Daniel Stone]

Yeah, that’s what I’ve been doing (saving new versions). And I have to trash my preference files whenever I want to do anything involving Firewire, so that gets done regularly.

I’m so frustrated with FCP. It seems everyday I run into some sort of issue with FCP that makes my job harder. I’ve definitely learned why the pros don’t use FCP – and why Avid is so expensive. Ugh.

Thanks everyone so much for the help.

[Daniel Stone]

Hey Tom!

Yeah, it’s 6.0.4 but the problem has happened ever since FCS2. I would try reinstalling but having to go through the whole process of redoing the XDCam and P2 drivers and getting the 6.0.4 upgrade and so forth has me looking for alternative fixes.

If I could I would totally go back to the old Final Cut Studio.

[Daniel Stone]

Hey David!

Good points!

I’m somewhat familiar with audio and the process, and low-cut filters are definitely “standard procedure” for me when recording/treating audio. I’m pretty well versed in types of mics, patterns, responses and uses.

Here are some examples of problems I’ve been having:

1. Filming in an office building: we have maintenance turn off the A/C on the entire floor which makes it quieter – but you can still hear air rushing through some sort of ‘building ventilation’ duct that doesn’t turn off. 5 buildings and they all had this vent sound. Ugh!

2. In a house filming a short: we turn off the A/C, which makes the room nice and quiet. But now we can hear traffic outside.

3. Recording outside: traffic, locusts, people, sirens, birds! I watch movies that are filmed outside and the dialogue is beautifully clean. Not a single background sound other than artificially consistent ambience. Whenever I ask someone, the easy response is always “ADR” but I refuse to believe that every piece of outdoor dialogue in every movie is ADR. Then there’s the issue of that phase effect (where the voice sound changes in relation to the position and distance of the mic from the source).

We recently rented an insanely expensive audio kit containing some Neumanns and a couple of Sennheisers — thinking the better the mic the better the sound. They were definitely better sounding but they did nothing to reduce ambient noise. In fact, indoors, the nicer mics picked up more ambient noise… from air ducts to the building settling to the interviewee breathing.

Audio has definitely been frustrating to me and there’s very little information on the internet aside from common sense suggestions. I’m starting to think that there’s a well-guarded secret that only audio pros know.

I’ve discovered that making a beautiful picture is cake compared to capturing beautiful audio. I’ve also found that viewers will forgive poor lighting and even a blurry picture… but they will not forgive poor audio.

My hats off to sound guys!

[Daniel Stone]

Thanks so much for the advice! It worked!

I simply used a couple small pieces of gaffer’s tape – rolled up – to tape the mic cable to the rear of the tie and VOILLA… no more clothes rub! Rolling the tape up made it double-sided, which held the cable to the tie and held the tie to the shirt.

Thanks again!

[Daniel Stone]

Thanks for all the excellent suggestions!

I thought about some of that, too. The project file is on my main internal HD and I do open it using File>Open. I fear it’s probably just one of many quirky FCS2 things I’m going to have to live with.

I’m having SO many crazy issues like this since upgrading to FCS2. The last version seemed to be much more stable. In our office we have a list of common workarounds that we hang by each FCP machine. It’s sad but true.

Thanks again, guys!

[Daniel Stone]

Scott, that’s pretty much what I said in my last post… that I came here to verify what I already believed to be true. I would love to have time to come here every time I have a problem in FCP (which could be several times a day), post and wait for a response that may or may not be helpful – but I just don’t.

I simply wanted to reach out beyond my circle of editor friends to see if other pros had the same opinion. And it seems they do. I had dinner with a fellow FCP editor last night. What did we discuss the whole night? Workarounds and crazy issues we’ve been having. That seems wrong to me.

All 3 of our FCP systems are less than a year old. When we got them I went to my computer guy and said, “Give me the most powerful Macs I can get and put Final Cut Studio 2 on them.” Many people say that an occasional reinstall clears up many issues for a while. Again, I don’t have time to do a reinstall every 3 months. I don’t mean to put down FCP because it’s an awesome tool – and I whole heartedly prefer mac over PC (which is why I’m glad there’s a mac option to Avid) – I just feel I need something more solid and reliable at this point.

I have a mentor who got me into this business and we constantly debate over tools. Whenever I would say something like, “why would we shoot with the Panavision Genesis ($6k/day) when the SDX-900 ($600/day) looks just like film?” Rather than arguing specs he always says, “Dan, there’s a reason why they shoot national commercials on the Genesis and not the SDX”. I think that translates into all aspects of production and post – and, throughout the process of maturing in this business, I’ve come to realize that there’s a very good reason Avid is still the choice of pros when it comes to editing movies and national spots.

I feel like I just rambled, but does that make sense?

[Daniel Stone]

I didn’t post in the FCP forum because I didn’t want to start an Avid vs. FCP debate over there. Asking this question over here was really just my own way of seeking final confirmation of what I already believe to be true. And I got some excellent information on the major differences between the two from here.

When I have issues with Final Cut Studio I usually call my network of editing buddies. My FCP buddies give me some awesome workarounds, while my Avid buddies say things like, “Wow, I’ve never run into that problem before”. I want to be one of those “never run into that problem before” guys!

Just to give you an example of today’s adventure:
– I open a project this morning only to find out that, for some reason, my file reverted to a version I saved a week ago. Consensus among my FCP buddies: It just does that sometimes.

– Then I try to capture some behind-the-scenes footage from a firewire deck. It’s a no-go, so I have to do that ‘close FCP, hunt down the presets files, delete them and restart’ thing. Problem solved.

– I then spent an hour trying to figure out why FCP was ignoring my audio rubber band adjustments in certain areas of my project. Only certain areas. Workaround: replace all audio fades with transitions.

– I then realize that some text overlays are changing the background brightness as they appear and disappear. Again, only in some places. So we go onto a portable drive and to another machine. Problem 2 solved.

– I then spent 2 hours exporting 4 sections of a timeline via Compressor only to find out that only about half of 2 of the sections exported video. Audio is fine. Workaround: export manually to a self-contained file which I then place onto another timeline and export with Compressor. It worked except…

– Despite the fact that I exported 16:9, my output video is still 4:3. I call a buddy who walks me through a way to “trick” FCP into exporting the way it should. Problem solved except…

– My audio is off when I import into DVD Studio Pro. We go back onto the portable drive and back to the old machine. Audio is fine here on 2 of the 4 clips. So I adjust the audio by hand until it matches. Ugh.

– Then a client comes over to record a scratch VO directly onto a FCP timeline. Audio isn’t recognized. I mess around with it for 45 minutes, apologizing repeatedly (I’ve gotten used to that during an editing session). Other programs are recognizing the audio so I restart FCP… nothing. Restart again… nothing. Restart a third time and bingo… it suddenly works! Settings are the same as they were before. Not sure why it just started, but I’ll take it!

And these problems aren’t even counting my usual little headaches that I don’t have time to fix, like why my FCP ‘recent projects’ folder clears every time I reboot and why my Soundtrack Pro only closes with a ‘Force Quit’. And I can’t even begin to understand why sometimes my audio lags when I capture DVCPro via my Kona – the solution to which is uninstalling and reinstalling my Kona drivers. The guy who told me this advised that I should get familiar to this process. Greeeeat. And I should mention that the ‘Home’ and ‘End’ buttons don’t work in FCP when I’m editing text.

Watch this video… this guy is dead on: https://www.youtube.com/watch?v=mUeRqS4KqhY

I don’t remember having this many problems with the older version of FCP. Final Cut Studio 2 is giving me hypertension!

Sorry for the rant… just a little stressed after today, knowing I have another day of it tomorrow.

[Daniel Stone]

Thanks guys for the responses. Excellent information and very much along the lines of what I’ve heard and experienced.

I think I’ve gotten to the point where I’ve outgrown Final Cut Studio. There are so many problems that the ‘convenience features’ are actually not very convenient at all. I need something rock solid and reliable.

Thanks again!