Michael Sacci
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COW Coin
Forum Replies Created
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That is not really a BUG, that sounds like the jack went bad. All you can do is to test out the equipment on another piece of equipment, if it works you have a bad mic jack.
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While they let in more light you just cannot film outside without ND filters, all pro-level video cameras have them built in. So ND is a must for outside, always has been.
The reason they are really needed on a DLSR is that most people are trying to get shallow DOF so that is taking away the main way we limit light. With video you are locked into only a couple of useful shutter speeds unless you want “Gladiator” motion. So if we cannot change the shutter speed and we don’t want to give up the wide open aperture for DoF we have to cut the light coming in.
Using single ND filters would be better than Faders but Faders offer a quickness and in the end are a bit cheaper than buying a set. I use a Fader and love it. I put a rubber hood on it and use it like I do the iris control, with a figure I can open up or close down, to adjust exposure, even within a shot.
Now if you want a ND and Pol, I would recommend get a fixed ND and a Pol. If you have a Fader and a Pol, even if it didn’t cause you some funky patterns it would be a bear to adjust.
Just my 2 cents.
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Pete, How much Panasonic stock do you own? 🙂
I get a kick out of your enthusiasm, you are the lone panasonic voice crying out in the canon woods.
These camera’s do look interesting, if I didn’t have canon glass I would definitely give it a serious look. Especially if you can do HDMI HD recording.
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I would keep clips as they are, as in not stringing them together. So in Compressor you have each clip and a setting to make the ProRes for you and FCP, and then the H264 with BITC for them. If you setup a destination preset you can control the naming of each of the clips and have them sent to a Proxy and a ProRes Folder. This is really the power of Compressor.
This way their notes are based on the clips and not a movie that you are not really working with.
This is definitely a, spend a little extra time up front and save a lot of time and headache later on.
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Yes this is the next step. This camera deals with a lot of the problems with using a DSLR, but it still has some limitations. This will be my next camera purchase. In fact I will probably sell my HVX to help pay for it.
But if you are going to buy this or anything else these days you have to be okay with the fact that something better is just around the corner.
Sony is coming out with something mid-next year but it will be in the $16-20K range.
But with all equipment purchases the question is – Do I need what this has to offer, and then how quickly can I pay this off? The payoff should be 6-12 months, IMO.
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No idea on the different number of clips thing but here is what I would do.
When you are making the ProRes you also make a Proxy version of the clip, for directors I normally make a good but much lower res H264 and turn on the TimeCode generator filter. Even if there is no TC in the clip itself, the counter will start at 00:00;00. You will be able to match up your clips to their notes. They also can view the clips on any computer.
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It will (most likely) in the next release. I have both and all I need to do is launch PP and I know why I use FCP.
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If you use Motion, AE or the Premiere Pro CS5 you will gain a lot with this much memory.
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Do you NEED them renamed or are you just worried about some that might happen and you need to re-transfer the footage in.
If the latter, I would test out Reveal in Finder for a few duplicate clips, see if FCP added a _1 to the duplicate name. If you have to recapture you will be pointing to the folders for the separate cards, which should be the reel name.
So I guess I’m saying to rename if you need to.
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The clips name can be changed in L&T and the link is still there, there is this super long ID number that maintains the link, you can automatically add other if to name you see in L&T.