Michael Palmer
Forum Replies Created
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I believe the EX cameras record only 24p (and not 24PsF). If anyone here knows otherwise please respond as this would indicate 48 Hz scanning or 48i.
I believe 24 fps can be converted to 25p and 60i.
Good Luck
Michael Palmer -
It would have been good to know the error, is it could possibly help others here, but the problem is your clients now. I don’t think your camera had anything to do with this issue. I believe it must be the 60gig device you were asked to use.
Good Luck
Michael Palmer -
What is the firmware version currently on the EX3?
Have you had much experience using a hard drive to record with?
Did you try re-mounting the 60gig drive back to the EX3? It should give you the opportunity the restore the media.I’m just guessing here but I would bet the error was generated because you stopped one clip and the drive was still writing to the drive when you started another clip.
Hopefully you will only lose the last clip you recorded.
Good Luck
Michael Palmer -
I agree with both of you. But will Sony crank up their Mpeg-2 or introduce their own Mpeg-4???
Good Luck
Michael Palmer -
“One reason why I pull an EX3 off the shelf when I head out instead of an EX1 is for the BNC connectors.”
FYI, They both have HD SDI out with a BNC connector. I like the EX3 for the view finder not the monitor connector.The EX1 has a HD SDI (BNC) connector. And I would bet the OP hasn’t used it is because he doesn’t have a professional monitor, they are much more expensive. I’m sure the price of these SDI monitors includes a royalty for the SDI technology, this is why HDMI is becoming popular, it is the poor mans uncompressed HD signal.
The EX3 has 4 BNC connectors that include the HD SDI out, Timecode in, Timecode out, and a Genlock.
All of which are provided for multiple camera use. So unless you are actually shooting multiple cameras both cameras are equal in this department of professional (BNC) monitoring.A good use for this component port would be for an onboard monitor, plenty of onboard monitors used component. Running 3 wire component cables to a client monitor can trip anyone.
Good Luck
Michael Palmer -
“the difference between a real “pro” camera and a “prosumer” one repurposed for professional work.”
John’s statement sounds to me like he is opposed to this side of Sony’s professional XD Cam lineup. I’m sure his client base deserves the upper end cameras he provides, but not all productions need these cameras to produce with.
Yes the XD Cam line has the 700 & 800 leading off the lineup with features like the 2/3 Power HAD Progressive CCD sensor, 4 channels of audio and 4:2:2, 50-Mbps recording capabilities all to an optical (BR) disc. Yes these are awesome cameras and IMO completely over priced.
Before the PMW-350, the EX1 hit the market branding the Cinealta badge, taking a new step forward with professional solid state recording, with a new (yes less expensive) full roster HD 1/2 Cmos progressive sensor that allows for custom picture profile gamma settings, and offering recording from 1-60 fps. IMO this is not crossover camera from the consumer line at all.
IF you asked me Sony is headed down the road with smaller smarter solutions. I wonder how many established professionals have had the opportunity to actually use one of the EX cameras and would it be an insult to their client base to use them?
I don’t want my “Expensive Lesson” to be holding the (700) bag while technology is changing so quickly.
Oh and back on topic I have replaced a few plastic parts on my EX cameras as well, and these are repairs I can afford.
Good Luck
Michael Palmer -
I just want to add that the reason I choose to redundantly record is we simply won’t know when we will reach the end of the life expectancy of our recording media. I archive all of my media on separate drives so why wouldn’t I record to 2 separate sources. It just makes good sense as the Nano Flash uses affordable compact flash media and so does the EX with SDHC media.
There will come a day when someone posts here with their SxS cards failing. As I’ve said in other posts the Nano Flash makes the most sense financially to me when looking at the overall camera/quality package.
I believe any/all of you EX users should be seriously considering the Nano Flash as a necessary part of your package.
Good Luck
Michael Palmer -
You can record 10 bit 4:2:2 using the AJA KiPro, but this device is large and uses a hard drive to record the files and it uses the Apple codec Pro Rez.
You may want to look into the Convergent Design “Nano Flash” digital recorder that is extremely small and it records to affordable compact flash cards(no hard drive involved) and you can record at the bit rate of your choice, all the way up to 280Mbps intra-frame (all-i-frame). The Nano Flash uses the Sony Torino mpeg-2 encoder so it will be 8 bit color spacing but recording at 100Mbps (4:2:2) is near uncompressed quality, and with the advanced gamma setting of the EX cameras you will record the color spectrum you desire. I use the Nano Flash and record to the camera to insure a redundant recording.
https://www.convergent-design.com/Products/nanoFlash/tabid/1666/Default.aspx
Good Luck
Michael Palmer -
The SDI to a Kona capturing as Pro Rez works really well. However this is a ball and chain system. For portability you should look into the Convergent Design NANO Flash
Good Luck
Michael Palmer -
IF you need a front (head on) view you will need to either live with shooting threw the windshield or pull the windshield out, or find lipstick cameras to rig is side the car to avoid pulling the windshield. You will need to rig a large solid over the front end of the car that will control any reflections and or remove any front light on the talent. IMO the best solution is to pull the windshield and rig an 8×8 solid over the windshield, and use the 4k Pars with a double diffusion rig that will give you the cinematic liberty of choosing the right lens and camera position for the project.
Good Luck
Michael Palmer