Don Greening
Forum Replies Created
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[PaulD] “At 8x or faster there is a ‘gear change’ moment when the rotational speed changes and the burning laser has to be recalibrated.”
Sounds logical, as I hear the burner in my G5 changing RPM at various stages durning the burn process. FWIW, I’m in the same camp as Pierre-Luc: I use Yaiyo Yuden @ 8x all the time and have never made a coaster…….yet.
BTW, happy thanksgiving, Pierre-Luc.
– Don
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It might be a Quicktime thing. Try the described fix at the following link:
https://docs.info.apple.com/article.html?artnum=301852
– 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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[eyecamiam] “So you are using the matte box as a huge lens hood? Or do you use certain filters?”
Using it as a big lens hood. Having the camera down at stage level invites problems with various stage lighting entering the lens. Glare, reflections and so on affect the picture quality in the form of contrast and especially washed out colours. The matte box I have will accept the industry standard glass filters but I haven’t bought any yet.
[eyecamiam] “I never use picture gain. Was wondering too what the pros use it for. Extreme low light situations?”
Exactly. I have to use picture gain all the time when shooting wedding receptions because we have to shoot with available lighting. About 70% of the time the lighting at these venues isn’t adequate for video so we make do. That’s the reason I have a PD170.
[eyecamiam] “Why not just use the camera
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[John] “In other words, does this camera have a true 16×9 imager?”
No it doesn’t. It uses electronic squeeze to generate a widescreen picture. It does, however, have a lot of pixels on its 3 1/4″ chips, so the squeezed image isn’t as bad as you might think. The Canon’s squeeze mode is a heck of a lot better than the Sony PD170, and the Sony has 1/3″ CCD’s.
– 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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[eyecamiam] “How do you mount multiple receivers on the xl2?”
I have a 1st and a 2nd generation Senn EW100 series. The 1st gen. is just a belt clip and velcro setup. I put that on the optional battery holder (the piece that holds the optional CH-910 dual battery setup) but on the inside that faces the front of the camera. That way I can still mount my dual battery setup on the holder. The 2nd generation EW100 ENG came with a shoe mount so I put that in the obvious location. Works fine. To be honest, most of the time I’ll split the wireless audio chores between the Sony and the XL2, just in case of a bad tape. That way I have at least one wireless source to work with if the worst should happen.
[eyecamiam] “Does that accessory mount that came with the xl2 allow for more than one unit?”
You’re referring to the battery holder? I guess you can velcro one facing forward and one backward. Never needed to do that.
[eyecamiam] “Where do you put the receivers when you use the Sony?”
One on the shoe mount and one on my belt. Or if I’m doing a seminar or corporate stuff it’s usually on a tripod, so I’ll just tape the 1st gen EW100 somewhere with masking tape. Doesn’t matter, really. The shoe mount that came with the 2nd EW100 ENG also works with the 1st gen. EW100. Go figure.
Sorry. but I’m as dumb as a post when it comes to scanning of frequencies because up here in the great white north I’ve NEVER had to change to another freq. because of interference. I guess it’s more “frequency challenged” where you are and I don’t envy you. Just another problem to worry about. Our time up here is coming though, I’m sure.
[eyecamiam] “I find that often the light is not bright enough and the shadows that might look good live do not record well.”
Welcome to the world of dance recitals. They’ll always light for the audience and never for video/film. They cater to the audience because they’re the ones paying for the tickets. That won’t change. The recital organizers are the first ones to admit it, too. The advantage here is that they know the lighting isn’t best for video and they will accept those limitations. My experience is that one has to be constantly vigilant as far as exposure is concerned. The lighting is always changing beween performances so there’s no time to sit back and relax.
[eyecamiam] “I
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[Greg] “That Mini DV tape is good for one pass.”
Actually I’ve heard from many people that MiniDV tapes are good for about a dozen passes before problems start. Urban legend? Perhaps. Not that I’ve ever tried it, though. I use them for one pass, only becaue I like to keep my clients’ footage around just in case they want a re-edit sometime in the future. And with an NLE’s project file, recapturing is a snap…..unless the footage has been recorded over.
Al,
Greg’s comment is correct. Blacking an entire tape is not really necessary. I record timecode on the first 20 seconds or so, then back the tape up to about the 15 second mark. It’s a lot easier to batch capture starting at the first second of footage if you have some breathing room at the beginning of the tape.
Your tiling problem could be the result of many things:
– tape not properly lined up with the camera’s tape transport
– tape not running smoothly against the recording drum (loose tape)
– camera’s tape transport needs cleaning,debris on the recording drum from a previous tape, etc.Occasionally a fast forward/rewind cycle will help to throw out any particles in your camera’s tranport mechanism and will pre-tention your tape againt the recording drum (read: preventive maintenance).
But your first ten min. of problem tape is indeed unsusable.
– 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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[pachaunida] “Is there a way to just record into a hard drive that will be useable for editing?
Thanks,”Yes there is: FireStore FS-4 HD Portable DTE Recorder
Read all about it at:
https://www.focusinfo.com/solutions/catalog.asp?id=3
– 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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[eyecamiam] “Seems strange then that you can’t capture in 16 bit using an attached mic and the built-in mic as a back up.”
Well I guess it’s because since the on-camera mic is stereo it needs two channels to record to, hence the mic’s donimance over the channels 1 &2. I use my XL2 in 12 bit mode all the time: 1st two channels for the on-camera mic to capture ambient and two seperate Sennheiser wireless rigs plugged into channels 3 & 4. This setup is for dialogue only, in case you were wondering. During concert/dance recital recording I switch to 16 bit and have two house XLRs plugged into channels 1 & 2 (with inline attenuators) and don’t use the on camera mic at all.
[eyecamiam] “Though it is more expensive and not as good in low light.”
This is why I also have the PD170. For my type of event work I couldn’t get by without the low light capability of the Sony, plus it’s a whole lot easier to use hand held than the XL2. But all things being equal, if picture quality is paramount and I have control of the lighting I’ll reach for the XL2 every time.
[eyecamiam] “Personally I’d prefer a good shock mount built onto cam”
This is what I use and it works very well:
https://www.lightwavesystems.com/products/canon/minimount.asp
– 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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[eyecamiam] “How much quality is lost with the switch to 12 bit?”
There is quality loss when you record with 12 bit audio but with the relatively narrow frequency range of human speech it’s not too noticable. I wouldn’t recommend recording music with 12 bit audio, though.
[eyecamiam] “Maybe capture at 16 bit even though the recording was done 12 bit? “
I would recommend capturing 12 bit audio into an NLE using the 12 bit capture preset and converting to 16 bit afterwards. Capturing 12 bit with a 16 bit preset invites problems such as audio drifting out of sync with the video, as well as glitches such as clicks and pops getting recorded during the capture process. I’ve experienced this several times and it’s because your NLE thinks it’s capturing 16 bit audio when in fact it isn’t.
– 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 to your camera’s system settings in the menu and see if the DV setting is turned on. If it is, turn it off. DV on is for controlling another firewire device with your GL1 such as another camera or tape deck. When you connect your camera to your computer, the computer should be controlling the camera, not the other way around.
– Don
“Please take a moment to fill out your profile, including your computer system and relevant software. Help us help you.”