John Sharaf
Forum Replies Created
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Bruce,
The present generation of HD cameras are power hogs; this has to do with all the additional processing that goes on inside the camera to encode the audio and video for recording. In addition it’s quite common to ladden the cameras with on-board color monitors, zoom controls, radio mikes, etc. I recommend using the highest rated batteries available, namely the AB Hytron 140’s and Dionic 160’s. I’m sure other manufacturers supply batteries this big too. The same applies to the AC power supplies; the ones we used for the Betacam (usually 35 watts) are not sufficient for a fully loaded HD camera, sorry! J-Lab showed a really strong on board AC supply at the l;ast NAB, and I’ve been using a prototype for more than a year. It’s 150 watts and runs cool because of some serious industrial strength heat sinks. I’ve seen several of the AB 75 watt units smoke, so just a word to the wise!
JS
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If the slomo is to mimic that created by a motion picture camera, then yes, you’ll want to use the equivilent of a 180 degree shutter aka “half”.
JS
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While not a fait acomplee, there’s little doubt that ABC while be receiving the new 2/3″ HDXDCAM that was teased at the recent NAB show.
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While not a fait acomplee, there’s little doubt that ABC while be receiving the new 2/3″ HDXDCAM that was teased at the recent NAB show.
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While not a fait acomplee, there’s little doubt that ABC while be receiving the new 2/3″ HDXDCAM that was teased at the recent NAB show.
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While not a fait acomplee, there’s little doubt that ABC while be receiving the new 2/3″ HDXDCAM that was teased at the recent NAB show.
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While I’m not 100% certain, on other formats that are firewire compliant, clonning over firewire is the best way to copy, in that the material is not decrompressed and recompressed, but stays in the native codec. I’m sure on the receiving deck you can set the timecode to a preset rather than regen so you can create new code.
JS
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Bob,
For many cameras, you can purchase a diopter that will mount in the viewfinder to extend the adjustment. There sometimes was a screw thread of 52mm or such to accomodate commercially available diopters made for still camera lenses. Give your viewfinder a good look over to see if you can figure out how to add this option.
JS
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Hi Bob!
While I don’t have an HDX900 and do not consider myself an expert on that camera, I think it’s safe to assume that it does, like the Varicam, write “A” frame designations in the user bits so that, for example, at 24p, the discreet frames can be pulled out while importing into FCP to create a 24p timeline.
In the 720/60fps mode, the “A” frame will be written for each and every frame and FCP’s Frame Rate Converter (FRC) feature should be able to create a slomo into either a 24 or 30 timeline, as it does with Varicam footage. Please note that it’s a slower effect if put into a 24 timeline, namely 2.5 times as slo vs. 2 times at 30.
JS
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The whole idea of shooting video at 24 fps (realy 23.97) is to recreate the look of film. This is accomplished with modern cameras like the two you mention with both electronic imitation (cine gamma look, etc) and by recreating the motion effect of a film camera.
On a film camera the default shutter setting is 180 degrees or 1/48th of a second at 24fps, so the default setting for this speed with your 24p camera should be the same.
For scenes where there is no movement (shooting still life or maybe some scenics) and it’s dark, you could turn the shutter “off” to gain some extra exposure, but be sure to turn it back on when you start shooting “normal” scenes again.
BTW, this also applies to shooting at 30 fps (really 29.97) and at 60 fps (really 59.94) when you’ll be using FRC for slow motion effects.
JS
JS