[Frank Tucker]

I have the same issues with my PC version of Media Composer 6 and the Intensity Pro card. After the clip is captured it will not play audio on the timeline as it is trying to use the Black Majic card for audio playback. This seems to be counter intuitive and not a very efficient workflow.

If I’m capturing to the local drive and want to edit and playback, I would expect it to use the sound system native to the computer setup or applications settins for this and not try and use the capture card outputs. once capture is complete, the intensity Pro card should relinquish control back to the system.

This does not occur when using the 1394 Firewire interface.

Copter Doc
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[Frank Tucker]

I think the answer is no problems. The stabilized lens system on the Canon is optical and there is no image degradation when using it. It will help eliminate some vibrations as well as hand held shaking. I use it shooting from helicopters often. The only time I turn it off is when I’m shooting from a tripod and intend to do pan and tilt moves. (especially the panning moves) the stabilizer treats the panning motion as something to correct and you will find that you see an overshoot correction when you stop your panning motion. The lens system is trying to remove the motion. This is the only problem I’ve experienced.

Copter Doc
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[Frank Tucker]

I believe that you will need to upgrade to the Avid Liquid Chrome Xe in order to edit uncompressed HD. The Avid Liquid 7.2 will handle the HDV ok but not uncompressed HD (??)

This Aja card (Xena LHe) is the recomended hardware to use with the Avid Liquid Chrome Xe software.

Copter Doc
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[Frank Tucker]

Interestingly… I think Canon has audio in the SDI path for the XHG1 but not the precursor XLH1.

[Frank Tucker]

I’m not familiar with the Samson mics. The crackling could be just a wire or possibly the connector in the transmitter or recierver unit. I have the Azden 200ULT dual transmitter unit that allowes me to use two mics with one reciever on the camera. Each mic on a different channel. It works well for me at this price range, Azden also makes the Azden 100LT (same hardware, single transmitter) Videoguys has the 100LT on sale for $349.95 it’s new and comes with a warranty if that’s a concern. The unit I have, Azden 200ULT dual transmitter unit, is on sale for 599.00.

https://www.videoguys.com/uhf63mic.html

These units are “entry level pro”. The more expensive pro units run about $1500.00 or more for single transmitter units.

Copter Doc
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[Frank Tucker]

UHF is a higher frequency range than VHF and appears to be less susseptable to interferance typically found in the VHF frequency range for these types of devices. I believe that the UHF mics are usually longer range for a given output (transmit power). Also they come with more selectable frequencies (usually) to allow you to select a range that has the least amount of interferance for the envirionment you are recording in. Most professional mics are in the UHF ranges for this reason.

Copter Doc
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[Frank Tucker]

You can always pay more but a good mid-range mic for the money is the Azden UHF series

[Frank Tucker]

I do not think this can be done on the XL1 but I beleive it is a menu option on the XL2. It is definately available in the XLH1 menu so it is probably available on the XHA1 and XHG1. I don’t know about the GL2.

You should be able to go to the CanonUSA.com web site and find this in the owners manual (downloadable PDF files for each model camera).

Copter Doc
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[Frank Tucker]

This type of shot (no pun intended) requires significant setup and high speed equipment. A handgun bullet travels between 1000 and 1200 feet per second (avg.) Assuming you are getting an exposed field of view of no more than 3 feet (1 yard) and your frame rate is 30 frames per second. the bullet will have traveled approximately 13 yards within a single frame. The exposure field of view of three feet is at the long end and is most likely not close enough to acquire the detail needed in this type of shot. You would need an intensely bright light pointing away from the camera (at the bullet path to get the reflection off the bullet required for a good image. The light should also be a strobe to insure as still and pristine an image as possible.

If you imagine the speed of the bullet at 1200 fps, you would get a blurry bullet image at a frame rate of 1200 frames per second. The bullet would have traveled 1 foot within the frame. The strobe light will help stop this effect if you can get a high enough frame rate.

A .30 caliber rifle bullet is between 1 and 1.25 inches long. To perfectly stop this image in flight would require approximately 14,000 frames per second. Handgun bullets tend to be shorter (.5 to .75 inches long). A rifle bullet of .30 caliber would travel at between 2500 and 3200 feet per second making this shot even more challenging. You would also need a trigger device to insure the bullet was in front of the camera lens within the timeframe the camera was capable of acquiring this amount of data. Typically, some sort of light switch such as used in a chronograph (device used to measure bullet speed) might work. Also, the photo should occur at some distance from the muzzle (end of barrel) to insure that the muzzle flash and expanding gasses do not interfere with the image. It’s a cool trick but can’t be done cheap. That’s why Hollywood uses special effects and animation.

These are just rough calculations. I could be wrong but there is a lot to consider. If someone else can provide a method that

[Frank Tucker]

It may be the compound that the grips are made from. I know from some of the materials on helicopters that salt air moisture can cause this type of material degredation. Some rubber and plastic compounds have an affinity to moisture and is a slty moist environment, they will absorb this moisture which can result in the condition you describe. Just my guess.

Copter Doc
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