Fred Jodry
Forum Replies Created
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An electrically ungrounded lens is when the rear barrel of the lens you just tossed on your television camera fails to make electrical contact to the body of the camera. AC hums, radio signals making interference, and occasional static tend to pour into the preamplifier by the photosurface. It usually happens when someone puts a film camera lens on a TV camera so the paint on the lens mount insulates the lens until you scrape a place to reach metal.
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Scott, it just sounds like a memory setting misadjustment of your video card causing dropped frames but don`t forget that you might have downloaded a defective video take! Try playing it on another known good computer as a check.
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Scott, it just sounds like a memory setting misadjustment of your video card causing dropped frames but don`t forget that you might have downloaded a defective video take!
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That depends entirely upon how stale the film, developer, stop, bleach, and fixer chemicals you bought are. You`d have to work with an electrically ungrounded lens in the Alexa or maybe bad LTO recording tape to produce the same problem in an Alexa shoot.
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Todd, while what colors you see can be substituted for in display by colors mixed from sources as though you are looking at light gone through (deep of course) red, green, and, blue inkwells, what both the human eye and the color camera takes should be made of 3 broad mostly overlapping shapes that have 7 characteristic places to mention:
1. infrared edge of noticable sensitivity. 2. red primary 3. yellow mix. 4. green primary 5. blue- green mix 6. blue primary. 7. ultraviolet edge of noticable sensitivity.
Without using filters on the lenses of dissimilar cameras it is pretty common to run across some rather distracting or worse yet, stymieing takes in the shoot where maybe a deep dark red dress against a jet black theatre curtain background appears normal on one camera while the other camera takes it as a jet black dress on a jet black background.
Subjecting cameras to night lighting puts them working with light sources that are far removed from reference white. Since color cameras are intended for the most part to imitate the taking colorimetry of the eye, errors are mostly that, errors. The very deep colored unpredictable light of night shooting really opens up the sores. Color correction doesn`t necessarily work big miracles. Make the miracles smaller. Shoot right, patch less.
If your tests reveal an area where there`s some leeway in the filters, for example, a very weak slime green filter belongs on one camera and a very weak blue filter belongs on the other, or you can use a plainly weak yellow filter on one camera and no filter on the other, leaving you on a fence of which is better, remember that the deeper, and in one case, no filter, combination leaves one camera losing the most light sensitivity because of the deeper filter and the other running wide open sensitivity because of less filter or no window at all, in the way. Consider the sensitivities of your two cameras as you use them. It`s common to aim for weaker filters.
If this is your first lesson in taking and display colors then you got it from Fred Jodry.
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Todd, since you`ll be rendering the Alexa and 5C to nearly the same gamma (shades of brightness as each other) as seen on the displays, no mentionable problem there, even if you couldn`t decide whether to use ProRes or log c on the Alexa. But the taking colorimetry is another matter. Take a good set of lens color filters to the shoot, enough for both cameras at the same time as needed. Also, typically, exceptions are few, use a video oscilloscope and manual irises on both cameras` lenses mostly so that there are no undue video overloads. Run pre-tests. Also make sure you don`t bring back unmatching audio if that`s a concern. These are the general directions; you`ll do fine.
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I have the same problem bringing in files to old Fedora 8. So I click to unlock each folder icon from locked to shared in Fedora 8 and then I can burn. Transferring files onto a USB stick or magnetic tape and burning the DVD with your old Mac and software helps. Still, we`re looking at the stupidity of a world that thinks that MS Windows- style security and electronic copyright protection is the way to go.
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Easily more than half of the SSD “hard” drives on sale right now produce sustained, streamed, throughputs that are disappointingly lower than reasonable. You can forget SSD drives for only $200. That purchase will end up purring in your secretary`s internet computer. The price of SSDs now is usually going up not down very slowly. Stick to high quality 2-1/2 inch hard drives, often in 320 to 500? GB sizes for really premium throughputs. Pencil and paper looks for 128 GB SSDs is always risky but by the time you see, Kingston, Pny, OCZ, etc., there`s some signs of being in the right area. The Bit Micro and RedRock U320 terrabyte bricks and wild hardware used next to them that server companys use is not for the slight of pocket. While they`ll save expensive electricity and time from the word, “go”, their price apiece of $64,000 expensive, $1,700 cheap, with 2 or 3 of them interleaving RAID in an Alexa editor or one of them in a HD editor doesn`t mean they`ll pay for themselves too quickly for the shoot and edit 5 hours a day video man. One of the advantages of non- defective SSD drives is that you can usually aim them right at RAID 0 or single drive uses without worry.
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I`m afraid I started the guys looking for solid state drives a couple of weeks ago when I saw that a solid state RAID 0 would be perfect work drives for someone`s uses. If you`re thinking about having a really good single or boot hard drive, my choice would be a really worthy 2-1/2 inch IBM/Hitachi drive. You seemingly can`t go wrong there. The Seagate Hybrid sounds like trouble waiting 2 minutes after you begin. Very many of the SSD drives sold will hoodwink you too. The models with memory batteries for their RAM instead of flash memory are of much better grade and purpose. Keep pencil and paper handy if looking for an SSD, to write what`s right and what`s wrong. My sensible advice to most users is to put your Mac book in good shape with a fresh magnetic 2-1/2 inch drive for things like video camera takes, and either use Bob Zelin`s recommendation of a giga-networked external boosting RAID when switching to editing, or transfer the files out of the Macbook into a waiting Desktop for editing. This of course describes data flow levels for pretty stiff video editing. Those of us who are giving the advice are always caught on the wrong foot when the user is editing 4 channel audio or gamma correcting photographs for their newspaper.
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Bill, if it has to be YOU who presses the backup button, don`t kill the other options, but buy the external version and lock the cables in your work closet.