Patrick Bronte
Forum Replies Created
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Cheers Todd! Thank you for all that food for thought! I’m studying the manual as we speak. I use the Canon XF-100 and once I find out more about exactly how to manually make these adjustments and how to customise the auto settings I’ll get back to you if that’s o.k.?
You mentioned cloudy days and long interviews on location. Well sometimes these oral histories can go for up to 4-5 hours so there are changes in the lighting as the sun goes down or clouds pass over. I’ve invested in a good fluro key light with a soft box and head light to overcome the slight changes that can sometime be seen on the screen.
You mentioned a good monitor. I usually just flip the cameras lcd screen around and watch that. Can you tell me if the monitor I’ve linked in here would be a good start? I’m low on funds but if you could recommend something that would have the flexibility to be mounted on my wheelchair would be much much appreciated.
As a side note: if I’ve got the Zebra function on and there are no “lines” appearing on the skin on the talent am I on the right track exposer wise?
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Hi Todd,
Thanks for that. You didn’t sound smug to me. I’m a complete novice so tapping into the experience from pro’s like yourself is the reason for joining the forums. I’ve only ever done things on a hobby type level but now I need to learn these things to step things up to the next level.
You are correct about the black screen background and the reasons you’ve given for the over exposer sounds .
I have one little obstacle in my way though. I’m just an interviewer and due to paralysis I can’t physically adjust the settings while the interview is taking place. I have help to set everything up (lights, screen and could do things like manual focus just for an example) and push record but they have less understanding of operating the camera than I do. But as long as I can figure out and learn exactly how to set things up manually I can then instruct them.
In most cases I can get the talent into a controlled room where nothing changes (such as lighting & position) from start to finish but there are going to be situations where I will have to go to the talents residents and won’t have that same control. I’ll still use the screen and lights but my concern is being able to totally block off all the natural light.
So in my case of recording talking heads, If I manually set everything up, what camera functions (gain, exposer etc) would need the most monitoring and be changed throughout the course of the interview? What would be the most crucial things I need to look for? I tend to use auto functions so I can set and forget and not have another person sitting in for the people I interview don’t respond as well with an audience but I can’t have it all. Can you please suggest the most important functions to set up manually and any advice on how to get the best results considering my circumstances?
Thanks again Todd!
Kind Regards,
Pat
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Cheers Todd! Helpful advice/food for thought.
Can you point me into the direction of some good tutorials that will help me learn the skills I need to break into the Premiere mindset?
Would you mind me asking you questions in the future?
Thanks again.
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Hey Brett,
I’m looking at a getting a Canon XF100 also: would it be a good idea to shot at 50p at 50mbps just to cover all bases? I’m wanting it as a step up from an HV40 HDV to shooting in “true” HD for Blue Ray initially , so I guess I’m asking is it a good idea to shot at it’s highest specs in case the employer decides to use it for something more demanding like broadcast?
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I’m all ready to make the jump from tape to Memory cards. Have you had a go with either of those cameras I listed?
It gets a bit confusing for I’ve been in the 1080/50i world, I don’t really know what kind of format will produce the image that will bring me a little bit closer to the prosumer world. I’ve read that 1920×1080 is full HD and AHCHD 1920 x1080 is a really high quality codec, better than standard HDV.
Which is the best format/codec to shoot documentary style footage? The answer to that will make choosing the right camera a bit easier….
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I’m going to get the Neat Video plugin and I use both AE and FCP. Most of the editing will be done in FCP and I’ve just purchased the Depth plugin from Digieffects so I can blur the background behind the talking heads I’ve recorded. Unfortunately, the Depth Plugin isnt compatible with FCP. I am yet to learn how to transfer between the two programs but AE will probably be where I do the finishing because of what this Depth Plugin does – what would be the best version of Neat Video plugin do you think would be best for me? The one for AE or FCP? Is there away to blur the background in FCP?
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I’ve checked out the websites and checked out the examples and tuts for both Neat Video noise reduction and Magic Bullets Denoiser……as a Pro, what do you think is the best one and easiest to learn out of the two?
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Thanks David!
Most of the video I’m trying to improve was shot when I had no knowledge on how to get the best picture and was using an old DV camera which didn’t allow for manual focus, white balance etc. Due to the nature of what I was filming (talking heads of elderly war veterans) I had little if any control over lighting because I was going into their homes & rest homes that made bringing in lights etc un-practical and not to mention putting off the subjects. Plus, I’ve never been able to afford the lighting/lights needed.
Once I had wised up of filming and could afford an HD camera, I still had the same issues with lighting. I’m still a novice when it comes to color correction. I have heard of plugins like “silver bullet” that supposedly help with “grainy” footage etc. I thought that I would ask the experts before rushing off and purchasing the first plugin that claims to do wonders. I dont mind spending a reasonable amount of money if it does the job…..
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THANKS FOR THAT ADVICE ZANE!
If I’m capturing the HDV material as pro res, does it increase the quality or maintain the integrity of the footage a lot better than if captured in HDV? and/or does it make editing in a pro res timeline easier, producing a better final output?
Is there any way to convert material captured in HDV to Pro Res?
Your help here would be really appreciated!
Regards,
Pat
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Thanks heaps for that guys!