Mark Araujo
Forum Replies Created
-
I’m sure you’ve already had to complete this but I’ll add just incase. I mount devices by attaching my background (usually white or black foam core) to a solid piece of 1/2″ plywood, then using a some 1/2 doweling to mount the device to that background squarely. Usually I end up needing a extra device because I have to epoxy or hard mount it. I then mount that rig to a solid table using clamps. For lighting I use as diffused as possible, and start with 5600K bulbs and CTB gel them to match the screen’s temperature. Not sure what camera you are using but on the EX3 it has an ECS mode that allows you to counter act any screen flicker. I then mount the camera directly above the device/wood mount either from our grid or off a solid weighted c-stand. You’ll find reflections are the hardest thing to get perfectly right. Because the camera is square on to the device which is reflecting back I’ll take a piece of black matte foam core, cut a hole for the lens, and poke it through. That way it’s just reflecting black – aka nothing, the lens will some what disappear in the black. In terms of exposure I usually get my lights as bright as possible, expose for any hands in the shot, then I will adjust the device’s screen brightness to match my set up.
-
Doesn’t seem to far off. I personally keep any captured files, main project file, project related assets and everything in my RAID in one folder. I then open my scratch disks preferences and direct the scratch disks to that same folder in the RAID. The RAID is a bit more safe then say a single drive in terms of protecting my footage, and it’s faster than a single drive. I’m in what sounds like a similar boat as you in the matter that we don’t have high-speed local SAN (…still dreaming) so if the footage is super important I’ll back just the footage up to a secondary space right after digitizing such as an external hard drive or a slow speed network SAN. I’m not sure what your archiving method is too, but all I do in this situation is take that all encompassing project folder and copy it over night to are archiving SAN. I know a few people who will also direct their auto save folder only to the main hard drive in case they need to rebuild that project from the backed up footage.
-
I find I have to play with it every time, it’s usually trial and error.
I recommend getting a larger monitor too, I’ve been caught where it looks fine in the EX3’s display but back in editing not so much. I also notice that if LED lights are set closer to the brighter side of things the flicker tends to not be as noticeable. I’m not sure if you have to shoot electronics such as BlackBerry’s, computer screen or etc but same process there.
Usually I just pop the shutter into ECS mode and start rolling through the speeds until I find the minimum flicker.
Auto is okay, but it sometimes will stray on you. Example being I was shooting some b-roll near a window and panned slightly towards a desk – once I was near the desk you could see a slight flicker until the auto was able to compensate for the flicking of the Kino-Flos.
-
I’ve been using it on a EX3 for a while with no problem – what is your exact setup? I can see if I can try to re-create the same noise.