Michael Palmer
Forum Replies Created
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Use the storm case for everything but the batteries and the EX-1 when you are flying. I would carry these items on the plane with me. The EX-1 can fit in a backpack if needed to and yes you will need to take the camera out and run it through security by its self. A smaller 2 stage tripod would be another good idea because it may fit in one of your suitcase with clothes so you can avoid an extra case just for it.
Good Luck
Michael Palmer -
You have 60i now, why in the world do you think you need to remove this pulldown? The 24p look is there. I don’t know of any reason not to continue with what you have.
If you also recorded to the SxS card it will have true 24p and I would bet you could either key with the native HQ 3Mbps EX codec or you can transcode to Pro Rez or any other codec you need to finish the project.
Good Luck
Michael Palmer -
I’m wondering if the firewire 800 is your issue. Is the drive more than 70% full?
Good Luck
Michael Palmer -
I would suggest you use the display feature on the viewfinder at all times to ensure you have the setting you want. I can’t help but wonder if you accidentally hit the Full Auto button.
Good Luck
Michael Palmer -
I just popped open the 2.8dmg and didn’t find an uninstaller, so open the applications folder and at the bottom is the XD Cam transfer app, drag that to the trash and empty.
Good Luck
Michael Palmer -
Carolyn,
I think you are on the right track asking questions to achieve a better overall broadcast quality.
Yes is the answer to your question, there are higher CRI color constant tubes available in both T-12 and T-8 tube specifications. And even if this is all you can afford to do it is a huge step in the right direction.
As you have been informed from Mark and Denis there are many considerations as to the augmentation you are seeking.
Depending on the type of tubes, the ballasts and the number of florescent units per square feet of the room you could end up with a “Thug” look that is basically green that flickers and for some it is branded institutional style (film look) that you don’t want.
It would be worth investigating into what type of fixture you are dealing and how many per square feet of the room, then reporting back. Depending on the size of your company it may be worth retro-fitting this board room with high end architectural dim-able florescent lighting and a few addition units just for the televised board room broadcasts.
Good Luck
Michael Palmer -
Very informative narration Philip, very cool how your lips never really moved when you were in the dentist chair. They say regular brushing after each meal and seeing your dentist twice a year is the best way to keep all your teeth. I think more people should buy this camera just to get a good look at their teeth as you did.
Michael Palmer
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No, Final Cut needs a Quicktime wrapper and I don’t know of any Quicktime EX codec that is going to work for a PC. IF you give this person the raw EX BPAV folder then they can use Sony Clip Browser to view it.
Good Luck
Michael Palmer -
Ok, knowing that there isn’t church services and an audience to be concerned with helps, and perhaps you can use the lights you mentioned.
The triple riser combo stands are tall stands with 3 risers that extend up for a total of about 12-14 feet and it would be good to get one for that 2K you have. IMO It would be a more natural look to get the main source light up high and through the shadows down behind the choir to not contaminate the background.
If these are the only lights I had I would pick a side and start lighting from about 20-25 feet from the center line on the choir and about 12-15 feet away first using that 2K fresnel razing it up as high as you can get it. Build a platform for the stand if needed. If you picked say the right side I would spot in the 2K (just to aim it) and pan it just left of the centerline of the choir and lock off the pan, then tilt it to center up the choir and lock the tilt, then flood it completely out, then use the barn doors, wider on top and bottom and close the top door down in tight near the tops of the heads of the choir top row and adjust the bottom up to taste. Then step back and see what you did, and hopefully it will cover the entire choir. you may need to pan it back to the right but then the right side may become a little hotter, I wouldn’t pan it much as you can only aspect so much from any one unit, and then use the redheads to fill in if needed. I would look for ways to bounce those redheads to create a soft fill. For me this lighting setup would be for the widest of shots and I may want to bring the source light back around making it a little more side lit for tighter work.
I would imagine you won’t be able to position any back lights so depending on the location you might want to take 1 or 2 of those redhead units and up light the back ground wall, this will create separation from the choir heads. I might try just tilting them up so that light is just above the heads creating a glow behind the choir. This is all to taste and you will know what works best for you on the day.
What I love about lighting is that there are so many ways to create a look that is natural and I have only given you one solution. Take your time and stand back and enjoy it.
Good Luck
Michael Palmer -
I have 3-LED 500’s from Flo-Light, and as Rick states the higher the CRI value the more even the representation of a natural light source will come from the lighting unit. LED units are the future and these LED 500 units are a little green but they are so handy it is worth the effort to correct them with some 1/4 minus green gel. I will give a thumbs up to the Flo-Light LED 500 unit. I added an Anton Bauer Gold mount plate on the back so I can use them with batteries and they run almost all day on one battery.
Good Luck
Michael Palmer