David Braman
Forum Replies Created
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The moraying drives me crazy. I just did a side by side with my T2i and it’s significantly worse with the 7000. There’s some with the Canon, but much more with the Nikon.
I have to say, I think the Nikon isn’t fit to hold the Canon’s lens cap when it comes to HD. No 1080/30p. No aperture adjustment in live/video mode (WTF!) An unreliable view screen. And cheesy moraying
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What I see on the screen before, and while I’m shooting is significantly brighter than what is actually being recorded. If I play it back immediately on the screen, its darker. I tried darkening the display brightness, but that darkens the playback image as well…so nothing really is accomplished.
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Sorry for the delay, but I’d love to know how to use AAF for porting over to Avid. I prefer cutting on Premier and would just as soon keep it that way if the job could then be bought over for finishing…which is done on Avid.
Thanks
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I think the hardest part of this job would be to keep from throwing up while shooting it.
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Thanks to all. I went with 1/4 CTO…looked great. I’m back in love with Kinos
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A Kino Flathead 80 on your talent will give you a fighting chance against the window. After that get a lot of 4×8 foam core to strategically bounce back into the visible cars. (Keep the visible cars to a minimum and concentrate on the cars in the foreground.)
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Sorry. Tungsten tubes. 4 foot. Old school Kino
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The macro focus on your zoom lens…if you have one.
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I did some experimenting with focus combinations (still need to do some more). But if I moved the focus on the camera’s zoom lens to a mid distance and then used the macro to regain image sharpness, a lot of the vigneting appeared to go away (it also bought me a little more spread from the prime).
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Just joined the forum and have been reading this thread and thought I’d throw in my (belated) two cents worth.
I would contact the school in advance and have them supply you with 4 of the flo tubes in the class room ceiling. I’d then show up with a Kino; drop in the matching tubes; and close the window blinds. You can now shoot with the class room flos and use your matching Kino as a key. (I like to go verticle from the side…as opposed to top lighting them). You can now move quickly and (relatively) unobtrusively…and its natural and unlit. If you’ve got the extra money and want to go through the extra work, you can do the same thing with a second Kino and move that around for a kick