Don Greening
Forum Replies Created
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As David mentioned regarding rendering your FX: the jumpy picture will go away after you render.
– Don
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I don’t think there’s much you can do in post to fix the Sony’s widescreen electronic stretch. That’s why I use the anamorphic lens when I need to shoot widescreen with it. You can try using a sharpening filter if you want but it’s going to look like someone tried to fix the picture because I’ve been there. It’s tough to work with pixels that are missing. Sorry I can’t be more helpful.
I know a bunch of fellow event videographers who use the PD150/170 cameras all the time and they avoid the electronic stretch like the plague. The only way the in-camera widescreen looks half decent is if you have lots of lighting, but even then, don’t bother.
– Don
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I forgot that you have a PD150. It’s still the same part number.
– Don
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If you’re going to keep your PD170 for a while and want to shoot 16:9 with it consider getting an anamorphic adapter. I use one from Century Optics (now part of Schneider Optics) on my PD170 all the time when it’s shooting along side my XL2 and GL2 when we’re doing a widescreen shoot.
A word of caution: Century Optics make 2 adapters and the less expensive one is not a zoom through, meaning after about 70% zoom it loses focus. The other one does zoom through but it costs about as much as your camera.
Since everything is going widescreen in the new camera market there will be less and less demand for anamorphics at the prosumer level so you may be able to find the Century Optics piece for less than 3 or 4 hundred bucks. The model you’re looking for is:
https://www.schneideroptics.com/Ecommerce/CatalogItemDetail.aspx?CID=1072&IID=873
– Don
“Please take a moment to fill out your profile, including your computer system and relevant software.”
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[marglar] “But there are sections of the falling water that are completely blown out and have lost all detail. There are some shaded areas that have also lost all detail.”
Small chip camcorders like the GL2 don’t have a lot of exposure latitude. There’s always going to be trouble trying to capture detail in highlights and shadows when there’s really high contrast. Cameras with larger imaging chips have more exposure latitude, meaning they’ll have a larger f-stop range they can choose from to get the highlight and shadow detail properly exposed. With video your job is to protect the highlights at the expense of shadow exposure because blown out highlights contain no inofrmation and are gone forever. Video will retain some shadow detail even though it may look like there’s nothing there. The shadow detail can be brought out in post later in your non-linear editor by reducing the black levels during colour correction.
So what to do when using your GL2? Use neutral density filters to cut down ALL the light coming into the lens. Your GL2 has one built in but it’s pretty heavy duty, so you will need to buy one or two screw-on ND filters that are a lighter grade to use depending on if it’s a sunny day or not. Learn to expose for highlights using your GL2’s zebra bars. Set them to 100% when you’re shooting scenery and back off the exposure when the bars start showing up in the highlight areas of your picture.
– Don
“Please take a moment to fill out your profile, including your computer system and relevant software. Help us help you.”
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Go here for setting up FCP to capture 12 bit audio.
https://forums.creativecow.net/readpost/8/930610?
– Don
“Please take a moment to fill out your profile, including your computer system and relevant software. Help us help you.”
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Exellent! Glad everything worked out for you. You mentioned in a previous post about the text issue. I guess now we know that the text has to be pretty much right underneath the buttons for them to be activated properly.
Best,
– Don
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[titan3ium] “Now if I shoot in 24p or any other format than SD on this, will the JVC import the footage in that format or is it like an HDV thing where I would have to use the actual camera to get the look I want?”
It’s not an HDV thing. The frame rate information for 24P is flagged in the video and your JVC camera will transfer that info into FCP just fine.
For more info go here:
https://www.kenstone.net/fcp_homepage/24p_in_FCP_nattress.html
Go to about halfway down the page and look for the header “Capturing 24P with the DVX100”. Throughout this whole article just insert the words “Canon XL2” where it says “Panasonic DVX 100.” the workpath is exctly the same for the XL2.
– Don
“Please take a moment to fill out your profile, including your computer system and relevant software. Help us help you.”
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Your GL2’s on camera mic is stereo and the Senn mic is probably mono. In order for the Senn mic to record to both channels you would need to buy a mono to stereo miniplug adapter. However, even with the adapter the signal from the Senn. mic would not be turned into a stereo signal but instead would record the mono signal to both of the GL2’s audio channels.
There is no setting in the GL2’s menu that you need to change. Toggling between 12 and 16 bit audio just affects the quality of the audio being recorded. If you really want to capture the talent’s voice properly you need to have the mic as close as possible to that person. Standing 20 feet away and using the on board camera mic is not recommended, no matter how good the mic is.
– Don
“Please take a moment to fill out your profile, including your computer system and relevant software. Help us help you.”
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I’d be on the phone to that client first thing tomorrow morning and asking what kind of camera recorded those tapes. Never seen that naming convention before either. Are you using BTV Pro in OS9, Chris? Perhaps the fact that an older app can capture these tapes and a newer one like FCP cannot might mean that the camera that recorded the tapes is also old technology.
– Don
“Please take a moment to fill out your profile, including your computer system and relevant software. Help us help you.”