Micah Mcdowell
Forum Replies Created
-
Well, as was already mentioned, the XL-H1s has the ability to output through HD-SDI, so if you record externally to another device (whether it be a computer connected through an AJA product or a VERY expensive HDCAM deck), it would give some of the best quality available over anything else in that price range.
However, depending on what you want to do with the camera, this is probably ridiculously impractical, and is really only an option in a studio setting, so forget all that I just said.
From what I’ve seen in some of your other posts and the replies you’ve received, I’d say an XL-H1s would be GREAT for you… just get one and shoot with it; the capabilites are endless.
I noticed you posted in another forum that you were considering the HV30; for it’s price, it’s a nice little camera that has surprising abilites, but it is in no way ‘professional’. I recommended it to my uncle for taping his kid’s basketball games, but I’d never recommend it to someone for serious production/filmmaking. The XL will serve you MUCH better (better form factor, professional controls, proper professional mic inputs, interchangeable lens, and altogether better quality).
-
You should be able to do what you need in Adobe Media Encoder from Premiere CS4.
It’s now a standalone application from Premiere CS4 unlike CS3, where it was part of Premiere… maybe that’s why you can’t find your familiar output settings like you could with CS3.
-
You’re gonna need a 35mm lens “depth of field” converter between your lenses and the camera; just search for Dof converter in this forum and you’ll find tons of information.
-
Well, I did in fact end up getting a pair of 23 inchers (high-end HPs that I believe use the same LCD panels as the Apple Cinemas). They haven’t shipped yet but I think they’ll do.
I kinda wanted to try the one big monitor approach, but it’s amazing how two pro 23″ displays are half the price of one 30″.
-
In that case, with the whole moody, dark, slow-paced serious feel going on, a slow dip to black may be more appropriate. You could always time-stretch the last bit of each section to emphasize their facial expression/emotion, fade to black, and then back up to the next section of interview. It may work.
-
I’ll sometimes use a quick dip to white transition (it can be a little less weird than a plain dissolve over a jump cut). You could also use a simulated whip pan or something else cheesy perhaps, depending on the mood of the piece.
Of course, this is why it’s always a good idea to change up your framing when you get a chance during an interview, so you’ll have some way to edit it together later.
-
Whoa…
As I typed my last message, my dead 2nd monitor arose from the dead I suppose; it now seems to come off and on at will, and I checked all cables and connections so that’s not the problem. Anybody ever have this happen before? -
Hah, two 24″ screens would make my desk seem a bit cramped I think, though I did consider it.
Right now I’m looking at the Dell Ultrasharps (probably 24″ or 27″) or the HP LP2475w (24″). I think the size of a 27″ would be nice, but they’re the same resolution as the 24’s so it’s just the same pixels bigger, right?
Anybody have any recommendations?
-
Hmm, wonder if they’ll take the ancient Sony DXC-M3a I’ve got laying around as a trade in.
It has a removable lens and 2/3″ chips, er, tubes… close enough, right?
-
Well, just like Jeff mentioned, ignore DPI altogether… It’s not the measurement you need to concern yourself with. If you’re editing images in photoshop for a standard DVD, make them 720×480 pixels (Photoshop has a preset for this in the new file dialog under the ‘film and video’ category). If you’re moving the pictures around in Premiere (zooms and pans), make the image a little bigger (1024×768 perhaps) to give yourself some extra room to work with. And, again, ignore DPI. If you’re scanning pictures, scan them at whatever resolution you want and then crop/resize down to 720×480 or so.