[David C jones]

Hi Gary,

I just shot this past weekend with the EX1 @ 1080/24p. When using the LCD screen it looked fine. But when looking through the viewfinder it looked somewhat “jittery”. Not sure why this would be.

My settings for a true film look are:

1080/24p
Shutter Angle @ 180
gain @ 0dB or -3dB
Picture Profile Gamma set to Cine2

Best,

Dave J

[David C jones]

I had this happen to me just yesterday! It happened after shooting for about three hours. I powered the camera up, and the picture looked like the back focus was off. I was in full manual all day. It cleared up itself in about 30 seconds. but, kinda scary!

Best,

Dave J

[David C jones]

Hi Jim,

I just shot with the EX1 and, at least looking at the footage back on the LCD, got the best “film look” I’ve ever seen! No jittering, or other “video” artifacts. And BTW I’ve shot a lot of film!

Here’s my settings for a true film look:

1080/24p
Shutter Angle @ 180 degrees
Picture Profile Gamma set to Cine2
Gain @ -3dB or 0dB

Best,

Dave J

[David C jones]

Hi Matt,

Generally speaking, you want the sample rate to be at least twice the frequency response. So if the frepuency response (the highest frequency) of a mic is is 20000Hz, the sample rate should be at least 40000Hz (or 44.1kHz – CD quality).

The 32000Hz sample rate is going to sound “muddy” because you’re not recording the high-end frequencies of the mic. Unless the mic only has a frequency of 10000Hz. But I would think that would sound pretty “muddy” too.

Hope this makes sense 🙂

Best,

Dave J

[David C jones]

Hey Matt,

I know “Public Enemies” used the EX1 as a “B” or “D” camera on scenes in cars and it tight spaces.

I would agree that it’s not going to be listed as an “A” camera on a feature. But I could see it being used on TV series and docs.

Best,

Dave J

[David C jones]

I would go with the 300 over the 500 BUT, my understanding is that the bigger the chip, the better it is in low light. The 500 is a 2/3″ chip. I’ve read complaints about the 200 (only 1/3″) being bad in very low light conditions.

You should still consider the EX-3 (with 1/2″ chips) and add a NanoFlash. That way, you can record at 100bps or more and audio at 24bit.

Best,

Dave J

[David C jones]

Greetings Leo,

What recorder are you recording the audio on to? Are you using timecode? If you’re not jamming timecode, the frame rate doesn’t matter (for audio). However, you want your audio recorder to be set at 48kHz and 16 or 24bit.

Regards,

Dave J

[David C jones]

Hi Jay,

In addition to Ty’s book, you might check out https://www.equipmentemporium.com. There are “seminar” type papers on location sound production. I think you now have to join the site to access them but I think it’s free. Also, https://www.locationsound.com click on the “tech tips” tab.

Best,

Dave

[David C jones]

Hi David,

It’s possible the AT mic is just to heavy to use with the rubber band mount. Or, with the way you’re booming, you need a more secure mount for the mic. Regardless of the mic, I would use a mount by Rycote. Yes, it’s not cheap, but it’ll fix your problems.

Best,
Dave J

[David C jones]

Hi Megan,

Without seeing how you actually set up the gain structure with the camera, it’s hard to say what you might need to do differently.

Are you using wireless mics? Is the limiter set to “on” on the mixer? What’s the audio gain level set to (in the audio set-up menu)?

I hate to be “that guy” but this is why you need to monitor the audio in the field, using headphones plugged into the camera, or send a return to the mixer. Meters on these cameras can tell you the levels are correct when you’re actually recording distorted or clipped audio.

Sorry about your recording.

Dave