Don Greening
Forum Replies Created
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The recommended workflow will depend on what kind of picture aspect ratio you want for final output. Is the program going to be 4:3 or 16:9? Standard def or HD? What version of FCP are you using?
– Don
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[gary coler] “i ver 2 of the clip browser out and where do you get it?”
I know that http://www.sony.ca has it for sure:
https://www.sony.ca/xdcamex/software.htm
About halfway down the page you’ll find the 2 new versions for Mac and Windows.
– Don
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Thanks for posting that, Derek.
– Don
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Daniel,
Just put the GL2 into manual recording mode and keep the gain at zero. Some of the other shooting modes will allow the camera to adjust the gain automatically, which is what you don’t want.
– Don
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The GL2 question below didn’t talk too much on the low light capability of the GL2. If you already have one then you may as well keep using it, although its low light performance is about the same as the XL1s or maybe a tad less.
The best low light performer in the standard definition class of Mini DV cameras is the Sony PD170 by a considerable margin over the GL2.
– Don
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[Zach Marion] “I have tried tweaking all of the image settings and cannot figure out how to keep the signal legal all around. “
Since your camera doesn’t seem to have any picture profile adjustments you’ll have to control the luminance values before you press the record button. Some cameras have the provision to compress the highlights by adjusting the “knee” setting. So, you either expose for the highlights and let the darker values fall where they may or buy a matte box and start using neutral density grad filters.
These issues are a fact of life when shooting with cameras that have relatively narrow exposure latitudes.
Exposing to protect highlights will allow you to bring up the mids somewhat in post. Using an ND grad filter will bring the luminance values of the sky down below 100 IRE but the rest of your picture will still retain the camera’s exposure because the bottom 2/3 or 3/4 of the ND grad filter is just clear glass depending on what kind of filter you buy. Check with your local broadcast supplier regarding these filters. There are ND grad filters made for just about every shooting situation.
– Don
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It’s nice to know that the “Journey” is still airworthy and flying. The last time It was here (several years ago) it was being used in a movie and those in the know informed me that the B17 was flying directly to the air museum the next morning and that was supposed to be its last journey. Myself and another enthusiast friend drove down to Boundary Bay airport the next morning to see it take off because we both thought we’d never see another one fly again.
The Sentimental Journey still lives!
– Don
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[Steve Wargo] “Again, BEAUTIFULL shots.”
I heard that. I just sent the Vimeo “Liberty Belle” segment link to a friend of mine who is a total B17 gear head. He’s going to drool over it.
Awesome stuff, Mr. Conner.
– Don
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You need to have pictures with more original resolution to avoid the issue. For example, if you keyframe a zoom move into the picture where only 50% of the picture is showing then the image should be brought in to FCP at twice the resolution it’s at now. If there’s only 25% of the picture showing after your move then you need 4 times the resolution, and so on.
All the extra resolution needed isn’t as bad as it sounds. Let’s say you’re working with a 1920×1080 HD sequence. A good rule of thumb is to always use images that are twice as big as your frame size if you want to put any moves on them in FCP. A frame size of 1920×1080 works out to roughly an image from a 2.1 megapixel still camera, which is a pretty small size as far as digital cameras go these days.
Hope this helps.
– Don