Michael Johnston
Forum Replies Created
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Preston, which camera are you using? I have none of those audio issues with the NX5 and that camera does not have a cheap plastic casing. It does pick up some zoom noise when speed zoom is turned on but Sony warns you about that in the user manual. As for the internal mic, it should only be used in emergency situations if your other mics die.
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Worked fine in an older 17″ MacBook Pro running FCP. I used it several times to load P2 cards into FCP
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…and some may say “that means Adobe is losing money”. Not true. By offering everything online as a download, Adobe eliminates the production, shipping, and markup costs of selling their software through a third party. Adobe’s take is the same only now they’re providing their product cheaper and really starting to takeover the share of the market previously held by FCP after Apple decided to basically abandon to popular FCP software. Apple has stopped supporting FCP7 and FCPX is very inferior to 7 so now professionals are turning to Adobe because its much more reliable and cheaper than AVID.
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I just got the Cloud and its the greatest thing Adobe has ever created. I think it’s brilliant. When considering the cloud versus Production Premium, just keep in mind that everytime Adobe releases a new version of one of its products, you get the upgraded version immediatelly via the cloud where as I’d you buy Production Premium, you’ll have to buy any upgrade. Buying is $1500 plus $300 per upgrade. Cloud is $600/year with free upgrades and you know new versions are released about every two years so that means $1800 buying versus $1200 for the cloud over two years.
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I use SanDisk Extreme Pro Class UHS-I cards and dual record all important shoots to the FMU128 on a NX5U. In 3 years I’ve NEVER had a problem. I have a RAID hard drive system for archive. After a shoot, I create a folder and label it whatever the shoot was and copy the exact contents of the card or FMU128 to that folder as archive. I then do all editing off of the FMU128. The SDHC cards are, essentially my backup in case there’s ever an issue recording to the FMU128.
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I had a shoot about a year ago in which we shot an instructional video for a pizza chain. Two 16 hour days. We shot on P2 with two 64GB cards. I had a DIT on-site with AVID. When each card was full, we passed it off to the DIT relabeled each clip and consolidated them into AVID. At the end of the day, he copied the relabeled/consolidated AVID files to a hard drive. After day two, all of the labeled clips were on a hard drive and sent with the producer back to New York where they could hand the hard drive to their editors who then could immediately begin editing in their AVID’s with no transcoding or logging needed. Same workflow works with FCP too. DIT on scene of the shoot really had to be on his game and work fast but, at the end of the day, it worked out perfectly.
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You could record to a Nano or ATMOS Samurai and then copy that to multiple hard drives. However, you’ll still need someone to go through all of that footage and log the timecode for each minute clip with a description of each to give to the editors, much like logging a tape. That’s going to take as long or longer than relabeling each clip on a SxS card. Given the amount of work you describe, it’s going to take a while to organize it all regardless of which approach you take to capture.
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EX3 only shoots HD. HD is 16×9 only. So, no, you can’t shoot 4×3 with the EX3. You’ll have to convert and export 4×3 SD on post.
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…also, every year there’s speculation about Sony releasing a newer model of the NX5U. Truth is, the NX5U has outperformed Sony’s expectations and the camera gets nothing but great reviews. Sony’s focus for the NXCAM line is the DSLR type cameras like the FS700. The NX5U has been forgotten by Sony so don’t expect a newer version of the NX5 anytime soon. It would be great to see a shoulder mount version of the NX5 in, say, the S270U’s body but, frankly, I don’t see it happening.
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Sony offers a “world upgrade” option for the NX5U. You send it to Sony, pay the fee, and the c comes back able to shoot NTSC or PAL. With the upgrade, the camera costs the same as the PAL version but now you have all possible formats. It does suck that you have to send your cam off for a month but its worth it. As for back focus, mine has a slight issue. I compensate by zooming in, critical focus, then zoom out and ever so slightly nudging the focus ring back a bit. That gives me a crisp, focused image. Yes, it would be better if it didn’t have the issue at all but it’s not that big a deal if you know what you are doing.