Jason Jenkins
Forum Replies Created
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[Noah Kadner] “Yeah I was going to say- double system sound gives you a lot better quality and simpler connection. At a cost of having to sync dailies in post- just like any real movie shot on film…”
Technically, it’s better quality–but if you can’t hear the difference does it matter? Mic, mic placement, preamps and recording environment are going to have a much bigger impact on the end result than the file format.
Jason Jenkins
Flowmotion Media
Video production… with style! -
Ben,
I’m a big fan of the JuicedLink DT454. Very clean preamps and excellent customer service. Check out this thread for more info and a sample video: https://forums.creativecow.net/thread/280/5967
Jason Jenkins
Flowmotion Media
Video production… with style! -
Just for further comparison; I’ve uploaded an interview to the Cow. There is some banding visible, but I don’t find it distracting.
Jason Jenkins
Flowmotion Media
Video production… with style! -
Here’s one of the interviews recorded with the GH2 and the JuicedLink DT454. The voice audio was not post-processed at all.
Jason Jenkins
Flowmotion Media
Video production… with style! -
I’m shooting with a Panasonic GH2 and at first I tried shooting dual system sound, but I settled on something that I think is much better. I run my mic into a JuicedLink DT454. The excellent preamps give me all the clean gain that I need, then it goes out into the audio input of the GH2 for recording. The GH2 audio gain is on its lowest setting. The DT454 has a headphone jack for monitoring and the GH2 has onscreen audio meters. I can play audio back from the GH2 and listen to it through the DT454 as well. Although I am recording compressed audio, it sounds better than what I was getting when I was using my HVX with built-in XLR. No doubt the JuicedLink has better preamps than the HVX. I’ve done seven interviews with this system so far and I have a couple dozen more scheduled. It’s working out great.
Jason Jenkins
Flowmotion Media
Video production… with style! -
You might give yourself a little breathing room by shooting at f2 instead of f1.4. I don’t know about your Canon lens, but my Nikon 50mm f1.4 is definitely softer at f1.4 than at f2. Personally, I wouldn’t be comfortable shooting a shallow depth-of-field interview without an external monitor. They call them “confidence monitors” for a reason. I use a SmallHD DP6. Its 6″ 1280×720 resolution screen gives me a great image that is easy to keep an eye on throughout the interview.
Jason Jenkins
Flowmotion Media
Video production… with style! -
[Gerret Warner] “Since the majority of my footage is 720, shot with my Pan HVX-200, I plan to use a 720 timeline.
Woud you advise transcoding the 1080 H.264 to ProRes 422 at 720, or leave it at 1080?”
I don’t know what your content is, but I often shoot at 1080 and then edit it on a 720 timeline. It gives you the option of reframing some of your shots with the extra resolution. At 66.7% you have your entire image; at 100% you have a shot that’s 33.3% tighter. It’s an absolute boon for editing interview footage.
Jason Jenkins
Flowmotion Media
Video production… with style! -
[ryan loetscher] “… Also, on an opposing viewpoint. I was talking to the Black Magic guys at NAB and also had a chance to talk to the colorist from The Social Network, and they all seemed to be of the opinion that you should bake in your look with these cameras… the colorist actually said “I can’t believe I’m saying this but…” They just felt there wasn’t enough room on these codec to play with to go that flat with it… any thoughts about that?”
Keep in mind that this is a professional colorist that likely has much higher standards than we do. That being said, I think it really depends on the project and on how much time you want to spend in post. I often want to spend less time in post, so I take more care while shooting so I don’t have much color timing to do.
Jason Jenkins
Flowmotion Media
Video production… with style! -
[Gerret Warner] “I have a project mostly shot on DVCProHD 720p60/23.98 and I have additional footage from a Canon DSLR shot at 1080/23.98.
Should I use Compressor to transcode toProRes 422 and edit on a ProRes 422 timeline?”
It shouldn’t be an issue to use DVCProHD and ProRes on the same timeline. Are you going to edit @ 720p or 1080p?
Jason Jenkins
Flowmotion Media
Video production… with style! -
Have you seen/played with the Technicolor profile? More info and links here: https://philipbloom.net/2011/04/30/technicolor/
Jason Jenkins
Flowmotion Media
Video production… with style!