Kent Pope
Forum Replies Created
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Thanks but exposure increases/decreases the entire waveform. I want to address only middle grey. This is about 40IRE to 60IRE on a REC709 image. And leave blacks, shadows, whites and highlights alone. This is helpful for dialing in washed out flesh tones.
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I shoot FS7 4K footage and edit in Adobe CC2015 with an nVIDIA CUDA GPU (very important) with my i7 8 core 12mb RAM computer. It hangs at full resolution, stutters at 1/2 resolution, plays fine at 1/4 and 1/8. I occasionally get audio & video clock out of sync errors (video hangs, audio keeps playing) and hitting the spacebar to stop has no immediate effect (wait for it…..). My system is self-built. If you can afford it go with Xeon processors and a Quatro CUDA card, fast FSB, lots of memory, oh heck just go over to the VideoGuys website. They have details on GREAT DIY systems. Mine is based on one of theirs from three years ago and was screaming fast with multiple layers of BCC until I started throwing 4K at it.
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I too have been looking for a solution. I mostly shoot corporate and commercial work but also freelance for several national news organizations. I have retired my P2 cameras and started using the FS7 to shoot the news gigs.
Sony’s FE PZ 28-135mm f/4 G OSS lens, while affordable, doesn’t come close to what I need for shooting news. With this camera I need 17mm or less on the wide end (for candidates working the rope line) and 250mm on the tele end (for H&S shots of the candidate at the podium from the media riser). So that is roughly a 14x lens. f/4.0 is okay but not what I am used to from my Fujinon lenses.
What this means, for now, is that I am ALWAYS carrying two lenses with me and hot swapping them between the rope line and media riser locations. I have only used the FS7 this way a couple times so far this year. I may be going back to the lesser but more versatility lensed Panasonic P2 camera.
Side notes:
1) I can live without a power zoom as long as the zoom ring mechanics are smooth
2) The zoom must be parfocal
3) The zoom must be constant aperture (thought I could experiment with auto iris)
4) B4 adapter won’t work for me – wide angle is completely lost, some adapters vignette and all adapters plus x2 introduce too much CA
5) Yes, I know each one of my Fujinon lenses cost more than my FS7. Nuff said.
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I had a similar problem. I paid a freelancer to log a bunch of scenes. We created custom clip log fields in the project window with “meta display > add property”. For that edit it worked great. When I went to use the clips on a project several months later and import them into a current project I was working on they didn’t come in with any of the clip data fields. I of course had saved the custom fields from the previous edit so I enabled them for the current edit but the were all empty.
I read up on linking clip data to XMP data and found out that it doesn’t always work for clip data fields.
Quoting here, from “Link clip data to XMP metadata”:
“In the Metadata panel, the Clip property value fields are internal. They reside in the Premiere Pro project file, and are readable by Premiere Pro alone. However, SOME of the property value fields in the Clip section have a link option box next to them. After you select the link option, Premiere Pro automatically enters the information that you enter into the Clip value field into a corresponding XMP field.”
My custom fields do not have the link box next to them. I guess you have to stick to the predetermined CS5 fields, which doesn’t always suffice for me, in order to get the “link box” to appear.
Hope this helps.
Kent