[Dean Longfield]

Thanks very much for the feedback. When I said, “this setup since 2008”
I was thinking that I’ve been editing on this particular Mac with FCP since 2008. With DSLR footage only being incorporated over the past 3 or 4 years, and only in the past couple years have I been making projects with just the H264 footage and not mixing in other formats like AVCHD, (which automatically converts to Apple Pro Res if it’s the first clip in the timeline).

Right now I’m converting the H264 footage to APR with MPEG Streamclip.
I’m noticing that it isn’t naming separate clips as they show in the window, but it seems to be calling all the clips the title of the first clip, (MVI_6135.MOV). Will I be able to see these clips as separate when the conversion process ends or will it be one large (in this case 59 minutes) clip?

I’m wondering if I should just make an APR 422 Timeline and then bring in the H264 clips and convert them in FCP.

Any suggestions?

…and thanks again for the advice. Very much appreciated !!!

[Dean Longfield]

Thanks for your reply. Thing is it’s never done this before, and I’ve been editing on this set up since 2008 or so.

[Dean Longfield]

That should do it yea. best of luck.

[Dean Longfield]

Yes, I would diffuse the light. I never use hard light on an interview.

[Dean Longfield]

Re: Lights reflecting in eyeglasses:
If you can’t get the person to remove the glasses, then key further to the side until the reflection is out of the glasses. Now this will make the contrast ratio more dramatic so you’ll have to fill the other side of the subjects face with more intense light than your usual fill.

You can also have the interviewer move a little more off camera so the interviewee’s angle, (looking at the interviewer), is shifted such that he’s not catching the light reflection in his glasses.

The other option is to light from above but that’s a flatter look which you may not be looking for, (though a lot of corporate stuff use a flatter look).

[Dean Longfield]

I like natural light from a window as well, BUT I usually don’t use it for an interview if the interview is going to take a while. For one thing, the sun moves. Then sometimes the sun will peek in and out of clouds. So one doesn’t have control over the natural lighting which is ever changing.

That said, I do use the window as a backlight if there is a nice city backdrop that will be in the back ground and it’s not going to take forever to shoot and (preferably), it’s cloudy all day.

Usually I play it safe and usually cover the window to block the outside light and use a softbox for my Key and can Fill with a bounce card or another softer light, depending on what you have in your tool box. I usually always use a hair light / Back Light as well.

My interview kit has 2 Lowel RIFA Lights, (softboxes) 2 Lowel Omnis and 2 Lowel Pro’s. I carry two of each light for two person interviews, (Host and Interviewee). If just one person is on screen then I use one of each. Of course gells, diffusion material: frost & spun, bounce cards, expendables etc., are all in the kit.

Now it also depends on how much time you have to set up your interview.
3 hours or 3 minutes? If it’s 3 minutes I set up the softbox near the camera and light the subject from a 20 – 30 degree angle and go with it. If it’s 3 hours I have time to play and make it nice, (dramatic).
Also depends if you’re in a 10 x 10 office or a 50 x 50′ space…etc.

Lately, I’ve been building a more compact kit with battery operated,(AC/DC), LED Lights with varying color temp controls. Especially if it’s a one person interview on location in a small office. This can work well for those one man band shoots in urban areas when you’re traveling really light. IKAN and others make decent compact LED light kits.

If you have the room you may want to carry a slash light for accent lighting. You can get creative as to which light you choose for that purpose.

Of course all the above assume you are shooting interior locations for your interviews.

[Dean Longfield]

Thanks Shane. I’m running Mountain Line 10.8.3 on a lap top and Snow Leopard 10.6.8 on a tower. I use Share because I’m putting more than 90 minute onto a DVD-5. I’ve always found Compressor 3.5 somewhat confusing. Probably because I don’t use it often enough.

[Dean Longfield]

Thanks Dan. It actually started to allow me to open it again. Go figure. I did come across that digital rebellion software and will try it if the problem happens again. Thanks again and happy new year !

[Dean Longfield]

I’ve been using PP2 when also shooting with DSLRs on the same shoot, which is what most of my current work calls for. PP2 is Sony’s Still Camera Nuetral “look.” The I shoot Nuetral on the Canon DSLR’s and match in post. I record internally – AVCHD – and get decent results with blacks. I did upgrade to the Version 3, which essentially makes the camera an FS700R, but have not yet used either S-Log 1 or 2.

[Dean Longfield]

Not sure where you live, but there may be a professional, audio/video shop that offers repairs. I can only speak to the mics not screwing in. which were an issue with the G2’s. After some use, the lock nuts would come loose and when one screwed their mic in the whole mic connector on the transmitter would also spin which would in turn spin the wires inside that are connected to it, which would eventually cause breakage of the connection. I had mine repaired by Sennheiser (quite a while ago) and then ordered additional lock nuts. I still use it and it works well.
Just have to remember to check and tighten those lock nuts every so often. If you are in a larger metro area there should be a professional sales, rental & repair shop in your area. Good luck.