Don Greening
Forum Replies Created
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[dreamspy] “Would Canon XL2 be the best camera for that? I know XLH1 is probably better, but I’m not planing to spend that much money.
“Any of XL series cameras will do what you want. Of all the standard def XL cameras the XL2 would be the best choice. Regardless of which one you use you’ll still need to buy the EF adapter to use any EOS lens.
– Don
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Craig,
Looking forward to any info on the EX you can gather from the upcoming trade show.
– Don
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[jiri vrozina] “Why aren’t they using “better” CMOS-like on EX??
“Perhap because CCD technology is a proven format, whereas CMOS for video is an emerging techology that has many miles to go before it becomes accepted by the masses. One of the first CMOS cameras was the Sony V1U which was found to have quite a noisy picture in low light. A lot of my fellow videographers found this unacceptable and decided not to buy the V1U because of this. I’m hoping that the different CMOS sensors in the EX don’t suffer from the same problem. This is what I’m trying to find out by reading every test I can get my hands on. Noisy sensors would certainly stop me from buying the EX.
What we’re all looking for, at least in my part of the world, is a quality high def replacement for the PD170.
– Don
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[Craig Seeman] “Apparently those “select” few who’ve been able to test preproduction models say the image is comperable to the 350 (355).”
Except that the 350 is a 1440×1080 picture, whereas the EX is 1920×1080. Does this mean that the EX will have a slightly more detailed picture because of the higher pixel count? Recent tests I have read also suggest that the EX is also a full F stop faster than the 350 in low light. This last point also tells me that, although the pixels on the EX chip are physically smaller than the ones on the 350, they’re more efficient at passing light. Maybe this is the difference between CCD technology and CMOS.
I wish it was November already.
– Don
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[Joe Cinquina] “When shooting green screen, what mode is best to use on my Canon XH-A1, HDV 60i or HVD 30F”
It would be easier to pull a good key if there were no interlacing artifacts to worry about. If it was me I’d probably use 30F. Of course, it also depends on what you will be viewing the final product on. If it’s just for the web or LCD/plasma televisions I would definitely shoot progressive.
[Joe Cinquina] “If I have the camera on a set of sticks should I turn it off?
“Yes, otherwise if you pan or tilt the OIS will try to correct the beginning and end of each move, which will cause a slight “bump” in your picture. Turning OIS off will also extend your battery life slightly.
– Don
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Hi Bob,
You’d probably get a faster response if you asked this question in the FCP forum. There are a lot of people shooting progressive/frame mode these days and not seeing the problems you’re describing.
– Don
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[Todd at Fantastic Plastic] “Sorry for the long instructions, but I can’t give you a direct link right to the page, for some reason it doesn’t work.”
The Canon site has been that way for years, Todd. It’s a pain. I think they need to hire a new web master.
– Don
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It’s probably the speed of your media drive(s) and not any fault of your Mac Pro’s processing power. If you’re working in ProRes HQ you need to RAID your 2 internal media drives together. I don’t know the transfer rate requirements of ProRes HQ but I do know that using only one SATA drive is not reliable enough for smooth playback with or without a filter like smoothcam applied.
I converted an SD clip to ProRes HQ a while back and tried to play back the exported self-contained QT movie from my internal SATA startup drive and it stalled. After copying the file to my 3 internal media drives set up with RAID 0 it played back fine.
Hope this helps.
– Don
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[Sean ONeil] “It’s just like the anamorphic flag. It makes no difference if you capture it with or without “Anamorphic” checked in the capture settings. You can change it back and forth after capturing as you like. It doesn’t re-render anything.
“That part I know for sure is correct. You can check and unckeck the anamorphic box at will in the clip properties window and you see the clip pop out to 853×480 or back to 720×480 each time. No rendering required.
The rest of your post sounds logical, to me anyway.
– Don
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Hi Ken,
Here’s a few more EX links for you to drool over:
https://digitalcontentproducer.com/cameras/revfeat/first_look_xdcam_ex/index.html
https://ieba.wordpress.com/2007/09/18/sonys-xdcam-ex-hd1000u-more/
https://www.ingenioustv.com/xdcamex.asp
The last link had a couple of frame grabs that look rather impressive.
I think what I’ll be doing as far as HD monitoring is to get a Kona LHe or Kona 3 board, then convert the outgoing component signal to a broadcast signal with the Blackmagic HD Link https://www.blackmagic-design.com/products/hdlink/ for colour grading on a computer display. Sort of like the Matrox MXO, but this way I can still use dual monitors for FCP editing and have the third display for colour correction coming from the Kona (hopefully). More research is needed, of course.
Initially, I’ll be mixing HD and SD until I know for sure that the EX will fit our shooting/editing workflow, and that’s where the Kona board will come in, as it converts (among many other things) SD to HD in real time as you capture DV NTSC tape to FCP. If everything works out we’ll eventually be getting a second EX.
– Don