Harry Rabin
Forum Replies Created
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The workflow we tried for RAW was Avid’s new ver. 6 and it looks great. The moire issues are still there but we just work around them in our setups. The latest issues however are OOF with Canon zooms, L glass . They don’t hold focus from CU TO WIDE. The 24-70 is the biggest offender. 70-200 2.8 breathes too much…quite frustrating. Really need to use a par focal vs varifocal lenses.
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MXF non-beta. I ued the XF Canon plugin ver 1.20 that was downloaded from Canons site for importing the MXF into FCP7. Do you think maybe the compression is causing the aliasing/moire? I’ve read that MXF is superior to Prores in several articles so I guess I need to try transcoding to other formats and comparing. Anyone out there that has a proven reliable C300 workflow feel free to chime in here? Maybe Tim Smith form CANON can shed some advice here. Vincent L.?
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Unfortunately I can only rent Alexas too much $$$ to buy. I was using MXF and not using the C-Log Canon Gamma setting but will test with that next. I worked on Zacutos shootouts for 2 years so believe me I will put the c300 trough the gauntlet and report what I find…
Scarlet seemed like the ideal choice but I couldn’t wait any longer and also after seeing Phillp Blooms blog it made me realize I would need to buy 2 of them for reliability factor. I had 2 Epics for a couple shoots and both times one went down! At least with Canon I trust their reliability but it may not be the right tool for certain projects. -
I have been working with the C300 and must vent my utter frustration with seeing MOIRE. I’m a DP I’ve worked on feature films, Documentaries, Commercials etc…I did a simple GREEN SCREEN test and notice that our gaffers ribbed workbelt was exhibiting MOIRE all over the place, aliasing, waves of it on a wide shot. Shooting ISO 320, Subject F4.5, 1080P 23.98 using a canon 24-70 L glass and a ZEISS CP2 28MM…
How is this possible. I gave up waiting on a Scarlet thinking this is the holy grail! Can someone explain why I’m seeing such horrific Moire.
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OK but how can you Log & Capture or Log & Transfer these clips so you don’t have to ingest them in their entirety. Need to be able to set IN and OUT points for importing
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I have the BlkMAGIC Mini HDMI to SDI and it DOES NOT work with the CANON 5D MII to my disappointment when RECORD is enabled on the camera! It goes blank to the Marshall SDI monitor, invalid SDI output? Is there a fix for this? Firmware for the Mini Converter?
It only works when you do not enable record. I also tried a Panasonic HMR10 recorder, same thing when you press record, it says invalid SDI output but of course records fine as long as I do not enable record on the camera.
Its supposedly a 480i 4×3 format, why won’t that pass through the converter to my monitor?
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If you could possibly find that scene setting info that would be great. I am seeing excessive NOISE and I will try the additional settings you mentioned. Kind of CRAZY they ship it so poorly configured. My DP almost tossed the whole rig!
COMMENTS ABOUT THE HPX300 out of the box:EXCESSIVE NOISE, ARTIFACT low light, shade??Not using Cine Effects. Have tried several variable rates and codecs from AVCIntra100 down to DVCPROHD and everything we shoot is NOISY?? Have the latest firmware installed, 9.30.00. Have tried the lens that came with it and a Fujinon HD 18x lens and still noisy. We compare it to our HVX200 and there is NO NOISE on the 200?? Either this camera is defective or some parameter we are unaware of has been set. The GAIN is at low. We even cranked it down to -3 and still noise.
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Sound advice, no pun intended. I guess trying to monitor the actual audio from the camera is non-existent for now. And yep I kind of agree that the DSLR while a COOL concept it’s NOT quite there today. For now I’ll just use my Fostex when we shoot, so much for the Run ‘n gun!
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OK further research revealed THERE IS NO HEADPHONE JACK on the 5D MII, what an oversite. It also appears you need to use 3rd party firmware from MAGIC LANTERN to monitor the Audio levels and turn off AGC, and replaced it with digital gain fixed at +12 dB and analog gain at +10 dB. Magic Lantern also adds a stereo audio meter to the top of the rear-panel LCD display during video recording, as well as crop marks for 16:9, 2.35:1 and 4:3 aspect ratio video. There’s also an on-screen indication of overexposed areas of the video which functions in near-real time, albeit with no manual control over the exact threshold at which the indication is triggered.
BUT WHAT ABOUT HEADPHONE MONITORING with my Juicedlink CX231, which by the way has no headphone capability like it noisier competitor from BeachTek. How can I monitor the audio with Headphones in this configuration?