Michael Sacci
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COW Coin
Forum Replies Created
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There is a lot of new lighting options out there also. With florescence and LED figures the worries about power can be reduced. Take a look at the Zacuto.com video shootout. You will be blown away with what you can do with a DSLR and just a little light.
Also think about renting if you can.
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When most people say “Film Look” they are talking about 24p. But it can also mean shallow depth of field or the gamma settings.
It is too broad of a term to be really useful without more info.
But short answer, shot 720p@24pN, edit 24p (23.98) and when you go to make your tape the card will add the pulldown for 29.97 video as well as handle the downconversion.
You don’t make many friends with cross posting (even if you tell about it upfront)
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Weird thing about my adapters, I had to get true Canon rear caps, the 3rd party ones didn’t work (but they did on Canon EF and EF-S lenses).
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I’m in NTSCland and that has worked for me.
Once you reset the Basic Motion and the Distort settings it should fill the frame and look normal.
Are your clips anamorphic to begin with?
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Can be simple if you have not used the motion tab on a lot of clips.
Duplicate your sequence and go to settings and check anamorphic. Open this timeline. The footage will now look stretched and letterbox. Select all the clips on the timeline, right click > Remove Attributes, then select Basic Motion and Distort, this will reset the clips and look correctly in the sequence.
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Yes you need an adapter for them. For video you need fast lenses in you are working indoors which drives the price up. If you are serious about shooting video you need to be looking at lenses that are at least 4.0 but 2.8 is even better. Any faster and the price goes through the roof except for 50mm.
The reason I got all the old Nikon lenses was because they are cheap, 3 lenses for under $250 for everything including new caps and step-up rings. I want go fast L series lenses from Canon but I cannot afford them right now. By buying the Nikon lenses I know I can resell them for cost to what I paid for them when I get the better lenses. So for me it was a no brainer.
With old film cameras the Lenses was the main thing, it didn’t really matter what body you had but in the digital world that is not true anymore but I think you can still say that the lens is more important than the body.
So if you need to buy new and auto focus lenses don’t go cheap.
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[Bill Davis] “Tether your camera to your computer via USB with FCP running and use the EOS utility to bring your video files directly into an FCP timeline.”
I would not recommend this at all. For one you will never have your raw files, they are your negatives, your tapes. Always copy them to a a HD with folder structure as it is on the card. Then do the Log and Transfer in FCP. That way there is a backup of the clips and you would normally want them on separate drives. You do not want to be working with the only copy of your media. This is rule #1 for tapeless workflows.
As a rule of thumb, your sequence settings should always match your clips, so if you want to edit as 24p you need to shoot that way. If you shoot 30p you need to edit with a 30p timeline.
To speed transfer to ProRes clips there is a new program by Red Giant and it will do multiple clips at the same time. How ever many processors you have it will transcode that number of clips. So with an 8-core the process will be basically 8x as fast if you have at least 8 clips to transcode.
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Like everyone else that asked this question, you have made a HD DVD, you have to reauthor the project as a SD DVD. Even if you assets have been downconverted to SD if you choose (by choice or accident) HD DVD it will only play in an Intel Mac or the discontinued HD DVD players.
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There is a program called Mpeg Append. One of the things it does it to stitch multiple m2v clips into a single clip. This should take care of the sync problem.
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Well said Dan, when buy gear in the production world it never boils down to a either or decision, it is normally I need both.
A good question to ask when faced with this choice is “Do you have control over the lighting.” If not the DSLR will be more versatile. You can get shots with it that there is no way a camera like the 170 can get, with or without lens adapter.
I have a HVX and I have friends telling me to sell it it is not worth keeping. Well until I need to record 30 minutes straight outside in the 95 degree heat. My T2i will last for about 10 minutes before the HOT light comes on and about 20 minutes where the camera needs a break.
I also agree about the cost but the advantage is a DSLR can be a gradual purchase, buying good used lenses and the needed gear as you go. The HPX is an all in one (or all in 2 step purchase) No matter how “cheap” the camera get this is still an expensive system to fulling put together.