John Young
Forum Replies Created
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Hi Scott.
Can you tell us a little more about what you are planning to use the camera for?
DSLRs are great, but only for certain types of uses. I would guess that with that budget, you will have to set some priorities to see which camera features would be best for your purposes. If you can tell us what those purposes are, we can better help you set your priorities.John
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[Phil Balsdon] “With the Canon 7D it is very important to choose a model with “AGC Disable” because internally the camera Auto Gain cannot be disabled”
You are right. But is it worth $399, just for AGC disable if you already have the H4N? Wouldn’t it just be a better option to record on the H4N and then get Dual Eyes for $149?
Although if that $69 option has AGC Disable, that might be a good option.
John Young
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I would be wary of any lens that does not have constant aperture. Remember on that Tamron 55-200mm f/4-5.6, you will be at f 5.6 on the long end (zoomed all the way in), which is where I would assume most of your shots would happen, unless you can’t get really close to the stage.
1) look into renting lenses for special situations like this. A Canon 70-200L can be good for these situations.
2)Unless you have a gigantic (in size and price) lens and if you plan on getting anything close to a close up or even a medium shot, you are going to need to be much closer to the stage. Otherwise you are looking at a gigantic lens (in size and price) Picture sports photographers on the sidelines of a professional football game, and that is what you would need.
John
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What would this Pre-amp do that your H4N can’t do?
When I am on a shoot with my 7D and have to do video and audio all by myself. I attach my H4N to the hot shoe (a very inexperience accessory)and turn it 90 degrees so the H4N is facing me. I then take the mini-phono out from the Zoom to the mic in on the 7D. I record on the SD card on the Zoom and also sync in camera. If the AGC in the 7D screws up the in-camera sound, I can always use the separate-system sound on the Zoom.
John
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If you are looking at your 5D MarkII and seeing that it doesn’t give clean HDMI out and drops to 480p when recording, then let me ask these questions? How long do you plan to have your monitor? and… How long do you plan to have your camera?
I always try to look to the future when buying gear, not just the present. If I could afford it right now, I would get a monitor that has these qualities.
1) is HD — a lot of the lower end monitors are 800×600.
2) has accurate level and color representation, and/or is able to be calibrated — I don’t like not being able to trust what I am seeing, and it seems silly to have to unplug the Lilliput monitor for lighting and setting levels and then only plug it for framing and when recording. For run and gun situations, where you have to set exposure and color levels on the fly, you have to be able to trust what your monitor is telling you.
3) HD pass-through of some kind — especially with DSLRs where your on-camera live-view shuts off when you plug in an external monitor, you at that point are left with only one monitor for the client, DP, Director, focus-puller, and everyone else, and it tight shooting spaces that can be impossible. To future proof my monitor buy, I want to have the option to plug in another monitor.All that being said, I am quite a ways away from being able to afford the monitor that has all these functions. The new SmallHD DP7 looks great, but I think will be priced around $2,500.
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Does anyone have some links to some examples? I think that I have seen this type of cut done poorly, which seems to be the focus of most of the people on this thread. But I also think I have seen this done well. When it is done correctly it adds to the engagement of the piece, and doesn’t distract the audience.
I can’t remember where I this technique used effectively, but I am going to try and find it and share the link.
If you all have links to other examples, good or bad, please share so I can learn up.
Thanks.
John -
I have found a sort of middle ground by buying used professional grade gear. Good tripods, good rails systems, good C-stands, those are things that if you get high quality gear, they can last for decades and not necessarily be subject to fast moving technology.
I end up watching ebay for a few weeks until the right thing comes along at the right price. I just picked up a used RedRock rail and follow focus system for $750. It has some cosmetic bumps and bruises but works really smoothly. And because that kind of gear will I can still use it when I upgrade to the a 15K, 20-stop DR, infinite focus camera that will probably come out in a year or so.
John -
Aw shucks. Color correcting the new clips is not so much the problem. It becomes a real hassle when adding a new clip that changes the timing of the whole thing. Not an easy way to Ripple Delete in After Effects.
Thanks Dave.John
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From what I have found, there is no way to actually do that. The only workaround I have found is to copy the title (that you want on top), delete it, then paste it back.
I think that the Title tool layers things in the order they were created.John
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I have that same 503 head (although slightly older) with the big sturdy Manfrotto sticks underneath for my 7D camera package. I really like it, and for the work that I do, this setup is great. It is very stable when need stability, and when I need fluid pans and tilts.
For those times when I need to prioritize speed over stability, I switch to the monopod (I have just a standard Manfrotto monopod with one of their medium sized ball heads). I use this for run and gun capture, live music shooting, etc. And when I need to go even faster, I can put that monopod on my shoulder and turn the ball head 90degrees, and have a pretty solid makeshift shoulder mount.I echo Steve’s suggestions. I don’t see good reasons to downsize and would discourage getting rid of a sturdy setup like the 503. Instead, think of a monopod when you need to be go fast and sacrifice stability.