John Cummings
Forum Replies Created
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Just for the benefit of all, how did you fix it?
J.Cummings
Cameralogic Inc.
Chicago/Cleveland
Sony F3/HDX-900
cameralogictv.com -
That got me all straightened out. Thanks all!
J.Cummings
Cameralogic Inc.
Chicago/Cleveland
Sony F3/HDX-900
cameralogictv.com -
That explains it. Thanks!
J.Cummings
Cameralogic Inc.
Chicago/Cleveland
Sony F3/HDX-900
cameralogictv.com -
A Ha!
Clip was shot at 24, PP was showing me 30.
Issue resolved.
Thank you very much Steve!J.Cummings
Cameralogic Inc.
Chicago/Cleveland
Sony F3/HDX-900
cameralogictv.com -
Ok, I’ll give it a try!
Thanks again, Tim.J.Cummings
Cameralogic Inc.
Chicago/Cleveland
Sony F3/HDX-900
cameralogictv.com -
Thanks a lot Tim.
I do want to make sure we’re talking about the same files so I’ll label them using the same terminology Adobe uses.
Assuming I go with the disk setup you describe, let me know if I have this right:
(C:) SSD1 Boot and Programs
(D:) Raid 0 (3 drives) for captured video files
(E:) SSD2 for video previews, audio previews and media cache databaseRegarding media cache database, there is the option to “save media cache files next to originals when possible.” Do I disregard that?
What about the project file itself? Does it take up a lot of room?J.Cummings
Cameralogic Inc.
Chicago/Cleveland
Sony F3/HDX-900/HDW-730S/Nanoflash -
Just curious Rich, what if the cameraman showed up in your lobby demanding the original media and insisting you delete any and all footage off your servers?
J.Cummings
Cameralogic Inc.
Chicago/Cleveland
HDX-900/HDW-730S/Nanoflash -
[Jeff Regan] “It’s great not having to change lenses all day long, a lot of clients like changing the focal length during interviews–harder to do with primes.”
Exactly my situation. I rarely spend all day in a studio. I shoot a lot of interviews with mutiple b-roll setups in the field all day…I’m always moving. That’s why I’m looking for a short, small and light zoom to compliment a couple PL primes. As tasty as an Alura or others like that are, the price for one of those equals my entire budget for lenses and lens support.
The AF is a plastic camera and requires serious support for big, heavy lenses. Add in wireless, Nano, VF, monitor, rails, mattebox and a battery system, suddenly you have a frankenstein camera on your tripod. A 10 pound zoom would just add to the misery, regardless of how great it works.
I’m hoping the RED 17-50 will be fast enough to give me decent shallow focus with the ability to change up focal lengths on the fly, and be flexible enough to use for b-roll. I’m told it also does a good job as a macro for product shots and tabletop situations…a good all-round workhorse lens at a decent price…not the best by any means, but not too bad, either.
Fact is, the AF100 is just another tool in my box and will be expected to earn it’s keep right away. I don’t have time to deal with multiple lens adapters and fiddling with jog-wheel exposure settings. I fully expect the AF will actually be a pain to work with and will never be as efficient or as comfortable in the field as my 2/3″ cameras. I see it as a temporary fix to mollify my clients that like the idea of shooting with a DSLR but haven’t got a clue about the drawbacks involved. When Panasonic or somebody else releases a real shoulder-mount version at a price half of an Alexa, I’ll be first in line.
Thanks to all that have shared their thoughts here and elsewhere…I appreciate it.
J.Cummings
Cameralogic Inc.
Chicago/Cleveland
HDX-900/HDW-730S/Nanoflash -
Well Noah, the question was about zooms. z-o-o-m-s.
A $6-9K PL zoom doesn’t seem like overkill when you compare it to an Optimo…I want a nice zoom and the two offerings from RED seem like pretty decent deals.
I assume they’re re-housed and re-worked stills lenses…question is, how do they look?J.Cummings
Cameralogic Inc.
Chicago/Cleveland
HDX-900/HDW-730S/Nanoflash -
This is getting to be like a tennis match.
I’ll call it 40-30 McLoughlin. Amador’s serve up next…J.Cummings
Chicago
HDX-900/HDW-730S/DXC-D50
847-220-3172