Jb Letchinger
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iLink connectivity has to be on – downconvert off.
make sure no firewire cables are plugged in until after your settings have changed.
make sure camera is on before plugging in. relaunch fcp if necessary.
double check capture settings in fcp = try hitting playback on camera directly and see if the image previews in log and capture.
JB
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Ripple delete adds one step at least and doesn’t work with the control button and a drop down – you shouldn’t have to highlight a space..
also I’ve found close gap works properly now only if the clip before the gap is on a higher video track than the clip after!! WEIRD.JB
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I always trust zebras –
when in doubt – they don’t lie. -
sound on location – VO… get some furniture pads and throw them over the C stands, with the arms at 90 degrees to the stands… add some grip clips… you can put these on 3 sides or so of the talent…
as far as a grid… I’d refer you to the Gripping forum on the cinematographer.com board…
https://www.cinematography.com/index.php?showtopic=40843
and this thread in particular
https://www.cinematography.com/index.php?showtopic=40221
basically just buy or scavenge semi-lightweight pipe and bolt it to the girders in your ceilings… use hardware – not rope.
autopoles are a bit pricey and C stands are not meant for this, will be unsafe, just get in your way, and be better used elsewhere.JB
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I’ve used lights like this on HDV cameras, and with some diffusion, they’re OK for what they are… and yes, cheap… – check carefully for battery compatability…
Sony HVL-20DW2
https://www.bhphotovideo.com/c/product/162282-REG/Sony_HVL20DW2_HVL_20DW2_20_watt_Video_Light.htmlJB
JBL Films, Inc.
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I always thought you had to have a crystal controlled generator for HMIs.
The Hondas we rent are always crystal controlled. The problem is flicker – the voltage and hz is just not regulated on generators which have not been modified…. hence they are OK for tungsten/worklights… Look under the hood of any rental genny from a production supply or lighting house and you’ll see a crystal voltage regulator…JB
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any firewire camera can be used with iChat – just plug it in, and turn off standby mode auto shutoff (pull the tape) and change your settings to select the camera in the video preferences… (use help menu in ichat) incidently this is a great (not perfect) way to produce interviews remotely.
free tip…JB
JBL Films, Inc.
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Noah’s got a good point. Assuming your editing monitor is calibrated correctly, you can adjust your viewfinder to match it. (almost) I would recommend using an NTSC CRT monitor first, straight out of the camera. In the Display Setup menu, you have control over LCD brightness, color, Backlight – and EVF Brightness. turn on bars and crank them down to where they look good. (google or search forums for bars calibration – especially on your CRT – using the blue button also – if you don’t know how to do this already)
I use the Backlight on high when outside and normal inside…
That said, its possible your settings on your edit monitor could use a double check also.JB
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Hi Stephen,
the mini litepanels add a bit of an eyelight, and slight fill when shooting outdoors in the shade. It can’t compete with direct sun (we’re talking about the small one here that you can mount directly on the camera).. I’ve only used the flood version, I believe, and for on the fly interviews – (it won’t have much of a throw beyond 5 or 6 feet)JB
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I’ve shot with alot of different monitors and find that I almost always have to warm the monitor settings up, and add blue to the lights. There may be color balance/color temperature/white point setting in the monitor menu that’s buried under advanced settings… its doubtful that the monitor is over 10,000K – usually the settings are 4500K – 9500K – and that’s with an adjustable white point.
Gels on the monitor, I personally wouldn’t do – usually too much hassle, time, reflection, preciseness of the cut, etc… The remote is your friend, but don’t forget the CTBs in your light kit: Full, Half, and Quarter!Better luck next time.
JB
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