Jay Kilburn
Forum Replies Created
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If you already have Nikon glass, I would seriously consider looking at the 7000 series. I shoot a ton of video on a 5200 and while the picture looks great, the audio preamps and lack ability to adjust f stop in live view are kind of annoying.
The 5200 and 5300 are great buys and will give you great results. If you are using an external audio recorder, they are a steal at under 500 for the body. If you want a run and gun kind of deal and take your audio right into your camera however, I’d get something in the 7000 series.
As for flickering, what kind of lighting are you using? If you’re dealing with lots of different types of lighting at once, you can run into flickering problems with refresh rates on the lights.
On a side note, look into the Panasonic GH4. For around a grand, you will a camera that will do some amazing things.
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What are your system specs? What version of AE are you running? Comp size and footage type?
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Another idea is to make sure that your particle system attributes stretch far enough for the camera to see the effect. On the occasional senior moment, I have forgotten to extend my X and Y parameters to be seen with my camera movements.
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https://www.movietools.info has a few sports theme pieces you might be interested.
https://www.freevideobacks.com also has some pretty decent stuff and priced every inexpensively.On a side note, I see you’re working in Bloomfield, i work out of Detroit. We should do some lunch sometime.
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Could it be that it’s connect via USB? I’ve had trouble in the past getting FCP to see any camera when it’s connected USB. Is there firewire on that camera?
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There is a great free program called Macfuse which lets a Mac read and write to an NTFS drive. It works flawlessly and very quickly.
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I guess the biggest concern with this is are you going to be sharing that hard drive with a windows box? If not, then go ahead an format it for OSX extended and call it a day. If you are going to be swapping between a windows box and your FCP box, then leave it NTFS.
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Regarding the Vegas vs FCP argument, here is my two cents.
I absolutely love Vegas. Not only is Vegas very user friendly right out of the box, but I love the way that Vegas handles audio. I’ve had friends who have actually tracked entire CD’s with Vegas because of that. The basic transitions and effects built into Vegas are also very useful and look very good.
The two things I really don’t like about Vegas are the title packages and the color corrections.
Because of the way that Motion integrates into FCP, creating good looking titles and other compositing effects is very easy. I will say that I really dislike Motion for most compositing, I’d rather do 99% of that in After Effects, but I love the way that Motion handles text.
As for color correction, I just seem to have an easier time correcting in FCP than I do in Vegas. Maybe it’s just a personal thing.
As far as price goes, it’s very true that you can have a very decent Vegas system up and running for under a grand, a very difficult thing to do with an FCP box.
If you are happy with what you are doing, than just stick with Vegas. I think Vegas and easily do 90% of what FCP can do for most people.
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I sometimes have trouble with FCP not recognizing either the XL2 I work with or a Sony A1U. What I have found works best is to get your capture scratch setting right, then close out capture scratch. Relaunch your capture and it usually shows up for me. i normally capture DV Firewire and for some reason, I have to do this to get my cams to show up.