[Michael Palmer]

I don’t believe a rolling shutter is the issue, it is high compressed Long GOP that is not so good for motion shooting. However you could take advantage of the EX1/3 imager and record to another source like the Convergent Design Flash XDR compact flash HD-SDI recorder that allows you to choose the proper compression level you need for the project. Including an all-frame 160Mbps 4:2:2 level.
https://www.convergent-design.com/

Good Luck
Michael Palmer

[Michael Palmer]

Holly smokes Craig what else are you holding back????????

Good Luck
Michael Palmer

[Michael Palmer]

It is great to finally see Craig’s head here, now what about Don’s?

[Michael Palmer]

https://www.imagineproducts.com/ShotPut_EXpress.html

I haven’t used it yet, so if you try it report back and let us know how it works.
I would test it before trusting it on a job.

Good Luck
Michael Palmer

[Michael Palmer]

If you need full HD to monitor you can use component to the Bravia LCD Panel. It should provide a very nice image. If you need to downconvert the EX has a composite port out, and it came with the composite cable for SD monitoring. HDMI is a poor mans digital signal and a very good source for quality monitoring. I’m not sure I understand the question, please ask a question you need help with, there are plenty of extremely talented folks here ready to help.

Good Luck
Michael Palmer

[Michael Palmer]

Welcome to the Cow, one thing that might help you search for threads that may answer your questions is to view posts by threads allowing you to scroll down to see if the question you have is already answered.
Lighting for green screen is a large step for a beginner and you should read as much as you can about lighting and video formats as this will help you later during the post production.

One thing you need to realize is you have the potential to reflect green light back onto the subject, this will make it difficult if not impossible to key out. You will need enough space to separate to back ground away from the subject and also some way to control the light levels. Grip equipment is how professionals keep light only on the areas where it is wanted cutting it from areas where you don’t. The light levels surrounding the edges of the subject are what need to be even so don’t be to concerned if the entire green screen isn’t perfectly lit, this area should also be about a stop less than the key light on the subject. You can use ANY light source (as long as it is a matching source) for the green screen as long as you can control it to only lighting the green, and just because this light is controlled from lighting the subject you need to be aware of any spill bouncing back. Lets say you are in the garage and you are using some fluorescent shop lights on the green screen one vertical on the left and right and one hung horizontal over the top, these lights will create an ambient level to the room on there own and this is where you need to have the room to separate your subject away from this area or enough grip gear to control it. I would suggest a china ball connected to a hand dimmer for the key and a smaller one for the fill side, and if you like back light use something you can control even if it is one of those quartz work lights, you can dim those too and wrap them with tin foil to make a snoot.

Testing is the best way to understand what you need to do. Read as much as you can.
https://forums.creativecow.net/thread/47/855938#855957

Good Luck
Michael Palmer

[Michael Palmer]

FIN is the render file and you don’t need it if you are finished with the project. It is the PROJECT file you should always keep. Shane Ross was a wonderful DVD out called “Getting Organized in Final Cut” and you can find him over on the Final Cut forum. Shane also recommends you keep the auto save folder when archiving a project.

Good Luck
Michael Palmer

[Michael Palmer]

Craig,

The clip I saw ran fast like some frames were dropped but I could see this banding as it is called. I’m wondering if Mark might have turned the shutter off to have fixed this problem, as it seems to be caused by the rolling shutter. This is the first banding I’ve seen that was caused by flos. I would bet these lights had magnetic ballasts and were not electronic (flicker free) ballasts.

Good Luck
Michael Palmer

[Michael Palmer]

-3 is the lowest setting
there is no gain at this point

Good Luck
Michael Palmer

[Michael Palmer]

Yes I was incorrect about the 500 CCD’s being used inside the 2000. I spoke to a Panasonic tech here in LA at the service center today and he filled me in on the pixel shifting focus pocus. In the white papers I linked above the spec for the AVC-I indicates the 100 Mbps is 1920×1080 but the 2000 doesn’t make this natively like the 3000 or even the EX series. I was also told by the Panasonic tech today that the 2000 CCD’s are still 720 native and I would assume more pixel shifting or as the Panasonic people say, “it applies a spatial offset giving it an effective Blank Blank million pixel image performance”. I wonder does this mean applying a spatial offset stretches the image out to what would be needed from CCD’s to do this natively? Anyway, sorry for the misinformation.

Good Luck
Michael Palmer