Michael Locke
Forum Replies Created
-
Herr Berger,
I think there is some difference in quality, but it varies greatly for some people depending on the demands of the image, and the software/settings they use. I’m not seeing a huge difference in some low contrast footage I shot in a hospital room with practical lights. But some people find a big difference with high contrast/dynamic range shots, like night exteriors. https://www.elskid.com/blog/5d-to-rgb-new-transcoding-app-tested-at-home When it’s available for PC, I’d definitely do some testing with your own footage. I think it’s partly the gamma thing (1.8/2.2) with MPEG/Quicktime/Compressor, but I don’t have the monitoring necessary to really judge “jaggy edges”, I just use the scopes in FCP. So again, for Vimeo uploads (not payed work), maybe not. But for our indie feature, we’re just doing the transcoding way ahead (no firm deadline) until we have enough shot to edit a trailer. I’ll take any level of improvement in the T2i/FCP workflow pipeline, just incase it actually makes it to a “big screen”. Thanks for the interest…ML -
Hello Frank,
I use 5DtoRGB; mostly to double check my other transcoding methods (MPEG streamclip, Compressor). Every now and then I’ve had a conversion (MPEG streamclip) that’s noticeably darker than I remember shooting. Just to have a free transcoder that even mentions gamma is great. But by they’re own admission, it’s not fast; it’s quality before quantity. Do I notice a difference on my laptop “monitor”, no. Do I think it does a better job, yes. So I pick and choose when I think it serves the target medium. Loads of gigs for the internet, maybe not; indie feature with delusions of Sundance, sure. I would have responded to your last post, but I’m just a newbie in this field of pros. Working hard to change that…ML
-
Hi Carrie; indeed, the 7D records it’s h264 (.MOV) files to CF cards, so you would just need a card reader to load it to whatever you need to store it on. The “plug-in” from Canon is for the log and transfer of that original media into FCP, typically when one would transcode. I’m assuming you have Apple hardware,FCP7, and OSX; not sure if the Canon plug-in works with older software. Just make sure to copy everything on the card to a folder to maintain file structure, or FCP will reject it even with the plug-in (Shane Ross has a great overview tutorial https://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1 ). Hope this helps…ML
-
Greetings all; actually, the latest firmware for the 7D outputs 1080i even when recording, BUT still has the red record dot showing and was never intended as a recordable signal. https://cheesycam.com/canon-60d-vs-7d-hdmi-output-resolution-test/ It’s just better resolution for external monitors while shooting. The dream of “raw” HDMI…ML
-
Really, there’s so much out there on You Tube and Vimeo it’s mostly a matter of sifting thru it. For other forums here, DSLR Video, Cinematography, Lighting Design Pro’s, all help me out. Other sites I like are https://philipbloom.net/ https://www.hurlbutvisuals.com/blog/ That’s a start, and of course, live with that manual for a while. Then just shoot; there’s a sunrise and sunset everyday with magic lighting for free. Welcome, and good luck…ML
-
Hi Bridgid, any Canon DSLR can only record 12minutes (+ if you’re lucky) per file. You can immediately press record again, but there will be that slight break. If you’re in a warm locale, continuous shooting may overheat the camera (have more than one if it’s critical- rent even). This is in HD of course, 480p or “movie crop” will give you about 20minutes per file, but quality suffers proportionally (depending on your target medium), and overheating works the same. In live events, I have two cameras available for wide/continuous, plus “b” camera options (7D,60D,T2i matched settings, similar lens/locked aperture). With a sound person and a tripod, you are your own camera assistant. So you film close to the 12min deadline, cut on any pause, and start the fresh camera; lock it down, and move to rest/b-roll mode with the first. Repeat when necessary. It’s a dance for sure, but the only way I count on running Canon DSLRs nonstop, is with more than one. Good luck…ML
-
Hi Brendon; really Cineform NeoScene is the best choice. I’m not seeing anything free for Premier(CS5?) that’s Canon DSLR applicable. It’s supposed to edit natively, but I think you’ll need a 64bit OS to take advantage of the Mercury engine(CS5 right?). Adobe needs there own Pro Res level codec, but now we’re wishing. Good luck…ML
-
Ah, 3D. If you can handle the storage for one Epic (200+Mbs), challenge yourself with stereo. Thank you Bob Pierce, appreciate it. ML
-
Hi Cory, the sensor in the 60D is exactly the same as in the T2i (and 7D). The 60D is more adjustable (ISO, white balance), so adjust it to the T2i. Make sure things like picture style are matched, decide if you want to match aperture, and they should be interchangeable. p.s. I read a lot of owners manuals; https://www.usa.canon.com/cusa/consumer/products/cameras/slr_cameras/eos_60d#BrochuresAndManuals cameras I only hope to work with, I’ll have a clue when I get there. Good luck…ML
-
Hey Steve, et al: Late on the post, but Zoom just released firmware (V1.7) to independently adjust the two XLR inputs. https://www.zoom.co.jp/english/download/software/h4n.php Don’t know if that makes a difference with one lav, but it’s much better with lav/boom. More adjustment, but more control. Hope this helps…ML