John Young
Forum Replies Created
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So, you have got yourself good camera, a lens, audio recorder, microphone, and even an external monitor. Sounds to me like all you need to do is go out and start shooting, not necessarily buy more equipment.
If you feel like you are not ready to replace the DPs on your series yet, find something else to shoot. Find a script, or write one yourself, do a lot of planning, and then shoot it. You will learn and (if you are smart and research and learn from your mistakes) your next project will be better, and so on and so on.
I know a lot of people that are itching for that next piece of gear that will solve all of their problems. I don’t think it works that way. You have a good basic setup that has the possibility to tell great stories. Now it is just up to you.
good luck,
John -
Josiah,
I have had great success with used Nikon Nikkor manual glass. I have Canon bodies, but with a simple adapter and a little bit of math (to figure the crop factor) they look really good. In my opinion these lenses are the best quality for value there is out there. I have a 50mm that cost me $200 and a 35mm that cost me $300. They blow any EF-S series lens out of the water in my view.John
Lift Official Trailer
Directed by John Young, Produced by Chris Bylsma
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Chris.
It is not uncommon for variable ND filters to result in a loss of sharpness and a general hazy look to the image, especially those ND filters on the inexpensive end of the pricing spectrum. (I know mine does). I am guessing you can probably see vignetting on the edges when your ND filter is cranked down all the way too.So I think the filter is the culprit here, but that leads me to the question, why do you want to shoot wide open, f2 on a bright sunny day? If you shoot at f8 for example and use the ND filter a little more modestly, the problem won’t be so pronounced. If you really want super shallow depth of field on a bright sunny day (you are talking knocking down the light some 16 stops!!) you might have to think about controlling your light somehow. An overhead silk can help with this.
John
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Oh,yeah. I completely forgot that those cameras had that output.
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Wait a minute, what do you mean by ‘RCA cable’?
https://en.wikipedia.org/wiki/RCA_connector
Not sure how you would go about connecting a DSLR to RCA, but it won’t be easy. That would be a analog to digital conversion as well as a SD to HD conversion.
I am assuming that this is a mistake in terminology since you said you could see the picture on the external monitor.
John
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The 12 minute limit is troublesome. Although I use my 7D alot, (and I really love it), that is why I have never done an interview with the 7D as my ‘A’ Camera.
I have been on shoots where we had to stop and start the interview to keep within the 12 minute limit and it is really a hassle and can have a big impact on what you get out of the interviewee. It stops emotional or thought-driven momentum. And really when you are doing an interview 12 minutes really doesn’t last very long.
Why are you leaning towards 7D?
John
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What Ann said.
I recently was wanting to achieve the same thing you are. After quite a lot of research I determined that what Ann said is exactly what you have to do. So for me, it was edit a 1920 x 1080 sequence (with temporary black bars on top and bottom for guidance) then export out 1920 x 816 file.
Here’s a Phillip Bloom tutorial on the subject.
https://philipbloom.net/2010/03/16/how-to-export-and-upload-235-video-to-vimeo/John
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If you are getting really bad overexposed shots, a picture profile isn’t going to solve that. I also highly doubt that your camera is defective, and that is what is causing the issue.
It sounds like what you are looking for is an simple easy answer to your problem. But a hundred different things could be causing this problem. We are trying to help you out. Just give us some more info and we might be better able to do that.Thanks,
John -
Welcome Rawad.
Auto settings can sometimes be a gamble. I shoot a lot of EX-1 and sometimes use auto-iris (mostly to calibrate the shot, then switch back to manual iris), but very rarely use auto focus, almost never use auto white balance.
I would suspect that your trouble might be somewhere in the way the camera was applying the auto settings, butI would want to know some more information about your footage. It sounds like you are indoors. Is that right? What lighting conditions are you dealing with?
Any chance you can show us a still frame of the problem footage?John
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The other thing you could do is transcode youf H.264 DSLR footage to ProRes or DNxHD. H.264 is a very processor intensive coded because it is intraframe. ProRes or DNxHD might be easier for your system to handle.