Dean Longfield
Forum Replies Created
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4:2:2 on a small camera with 1/2″ chips. That’s a good thing. I’m also very happy about the 4 channels of audio that I believe it has. Plus the audio select & control switches are all on the left side of the camera, which is good, (I don’t mean the line/mic switch, which is of course under the XLR inputs where it belongs).
The SxS cards slot is on the back of the cam and the door appears to swing out to the left of the camera, like a hinge. That concerns me as the door might be more prone to breakage if it accidentally opens and sticks out. Obviously one would have to see and handle the camera to determine if that’s an issue, (I’m just looking at the picture – see link below). Also the shutter on/off switch has been moved from the front to the left side of the cam. I’m not sure I want that switch where the camera operator might accidentally switch it; but it’s a switch as opposed to a button, which makes that scenario less likely.
Now I’m wondering if they fixed the sticky zoom issue on this model or if they put the same zoom motor as the EX1 – EX1/R on the PMW-200 ?
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Hi Stephanie,
I’m an independent filmmaker who writes his own contracts because lawyers are so expensive. Nolo is a good resource but for film and television projects use the Mark Liwtak books: https://www.marklitwak.com/
See “Contracts for the Film and Television Industry.” by Mark Litwak.
I often use the sample contracts in that book as a template of sorts and then fill in what’s appropriate to my situation and take out what’s not. There are volunteer lawyer organizations that you can belong to as an individual artist, (or small production company), such as Volunteer Lawyers for the Arts in NYC and California Lawyers for the Arts in CA. I bring contracts that I have written, (using the Litwak book as a guide) ,to the
VLA in NYC and they usually tell me that I did a pretty good job and then just suggest a word change or give a pointer on what to look out for etc.Best of luck to you.
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A few days ago I was on a shoot with the EX1R and experienced the zoom stutter as well. I was shooting hand held and only used the rocker arm zoom control. I’m going to contact Sony as well.
By the way: someone posted that a Sony rep told them the zoom on the PMW-320 does the same thing. That’s not true with my 320. That camera’s zoom works fine on the unit I have.
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Do you have XDCAM Transfer? It’s a free download from Sony. Use XDCAM Transfer to download your footage into FCP ready files. I have never shot SD with the PMW-320 but have shot many times in various HD settings.
XDCAM Transfer works great. (It makes files that can ONLY be used in FCP). Just drag and drop. -
There are shoe mount adapters with shock mounts that fit the NTG series of mics.
I don’t know if there are other type of mic holders with shoe mounts that fit it. Haven’t got that far yet…. -
The Rode is 1″longer. I secured it in the mic slot by wrapping thin foam
around the mic where it’s in the mic holder.I’ve heard that many people replace the mic holder with third party brands. You can find such attachments by searching the net.
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Re: Jim’s question if we’re safe using the RODE NTG-1 in loud music environments:
I don’t know if we’re “safe” with the RODE NTG-1, but I do know that it worked well on the last shoot I did, which had a semi-loud DJ providing audio services / music in a nightclub. It appears that the
NTG-1, (with a maximum SPL rating of 139), coupled with adjusting the Trim Settings in the menu, and adjusting the Manual Audio Levels on the exterior of the camera itself, enables one to attain a desirable audio record level.( BTW: The INTERNAL- built in – mic is something I have to test more in loud music environments before I find an acceptable setting.)
The recommended Sony shotgun Mic for the EX1R is the SONY ECM-673/9X which apparently works nicely with the camera, BUT only has a max SPL rating of 125, so being that I, like you, am often in loud music environments when recording, I opted to go for the RODE NTG-1, (with a max SPL of 139),
being it gives one that added padding – ( as others on the Creative Cow have so generously pointed out, and THANKS for doing so as that was very useful info ! )My initial impression of the RODE NTG-1 as the shotgun mic on the EX!R:
so far so good, but I’ve only tested it once. -
Hi,
i tested the EX1R again, in a loud music from a DJ type scenario. I used the Rode NTG-1 on Channel 1 with the trim set to -32 and the (exterior knob on camera) manual audio level set to about 3-1/2 to 4. These settings seemed to work very well. (The Channel 1 music was recorded at an audio meter level of about -20).
Channel 2 was the internal mic. The INT MIC LEVEL setting in the menu was left at the
default setting of, ‘0’. the (external knob on the camera) Manual Audio level for Channel 2 was set at around 2- 1/2. Channel 2 was recording louder than Channel 1 but never peaked in the red. Now monitoring audio on a very loud dance floor is not easy but the sound appeared to be OK on this channel in the headphones. However upon bringing it back and loading it into the editing system, (the audio is recorded at an audio meter level of -12), and never peaks in the red but it sounds almost distorted. Not crisp and at times has some distorted crackling sound as if it is peaking in the red.Re: Internal Cam Mic Levels:
Should I set the INT MIC LEVEL lower at say -6 ?Also it appears the MIC AGC level is for both channels, (you can’t have one on high and the other on low). Has anyone tried the LOW setting and if so does that significantly alter the sound quality, (eg, muffled audio) ?
Thanks.
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Todd – for the EX3 go to:
https://shop.dm-accessories.com/collections/ex3-productsMy suggestion is to:
get the EX3 Shoulder Brace and then build from there depending on what type of rear battery you’ll be using, (if any). ….and any other attachments that suit your needs. -
I agree Jim, I never had a problem with the stock mic on either a DSR 300 or 500 series camera, That’s why i tried that same mic on the EX1R – figuring it would work good on the EX1R also. It did not work well at the default settings (-41 trim..etc.).
As has been correctly pointed on this thread by others, the SPL on the stock DSR 300/500 mic (125-SPL) has the same 125-SPL as the recommended shotgun, (Sony ECM-673/9x), . for the EX1R. So after giving it more thought I decided to try the Rode NTG-1 rated at 139-SPL, which is also a Condensor mic with Supercardiod Pattern, but with the higher SPL.
So I’ll run my tests with that as the on cam shotgun mic, and see what happens.
Yes I also put a mic by the speaker and point it off axis, not directly into the speaker…..
Right now I’m just running tests with the on board built in mic and an on board shotgun, at non-critical times, on loud music type jobs.Will let you know how the tests go.