[Paul Kim]

It just occurred to me that I could install half the computers with FCP X and the others with PP6. Not sure how that would work in terms of licensing and what variation in cost would be, but that might be an idea to have them learn both. I’m also unsure as to whether or not I should have them learn FCP 7 since many people are still using that for good paying projects. Though by the time some of them are out of school, maybe not.

[Paul Kim]

It’s completely normal for you to see that skip/stutter/image shift (however you want to describe it) when you initially start panning or shifting, kind of like with all the other forms of OIS in other cameras like Panasonics and Sonys over the years. It looks slightly different with how Canon makes it work in their lenses. I have a 24-105 and it’s definitely there. If you have it on a tripod and start a pan it’s definitely going to show. Or handheld. I seem to notice this more of a problem with these Canon lenses than in a typical camcorder like a Panasonic 170.

As far as sound, any mic mounted to your camera is going to pick up the sound of the IS. Some louder than others, but with a mic that close, there’s no avoiding it. Some lenses have quieter IS than others. One way to reduce it is to mount the mic farther away from the camera with a rod, or just mount the mic elsewhere entirely like you would with a typical dual system.

[Paul Kim]

Bouke, does your software allow integration with Log and Transfer? Just briefly checked out your website–do you have any tutorials that show what the software can do? That would be helpful.

[Paul Kim]

Thanks David. When you say Transfer recognizes the clips with in and out points, are you referring to the in and out points that were created in the original clip–when they were filmed? What if you have a longer clip, such as an hour long interview clip, and then you captured/imported several shorter clips from that longer interview clip? I do lots of interviews and don’t always want to import (bring online) an entire, lengthy clip.

When you reimported these clips, I’m assuming they didn’t automatically reconnect to your timeline? Say some clips get deleted, or become offline, or you’ve finished your project and later you want to reimport everything to do another version, what do you do?

[Paul Kim]

I’m getting the impression that many are using XDCAM HD discs in the same way as they were with tapes, ingesting thru HDSDI (often into ProRes) and then using Log and Capture, Batch capture, etc. But since Log and Transfer doesn’t seem to work with FCP, it can’t be used in that fashion it appears.

Still figuring this out.

[Paul Kim]

I would just have to make sure that all my original clips were imported in their entirety? So is anybody logging and using in and out points to minimize the takes or sections of video they don’t need–like major portions of interviews that could be used for a separate project? Or is that benefit of tapeless media something nobody’s really going for…

[Paul Kim]

Philip is great, but just because he hasn’t recommended anything else doesn’t mean there isn’t anything else.

Variable ND filters are very convenient, but they are NOT essential, unless you’ve never heard of matte boxes or normal ND filters.

Tiffen knows exactly what they’re doing. Instead of creating a cheap product, they’ve got some terrific infrared ND filters that do a much, much better job than the Variable NDs. In fact, two polas stuck against each other do things to your image that you often do not want. Think about what polarizers do, and then think about what how that affects your image, like if you’re filming people. I have a Vari ND and it never gets used except for rare occasions when I’m taking some landscape stills.

[Paul Kim]

I own the Canon 50mm f1.2 L, and have used some of the other Zeiss but not the 50mm.

Part of the reason why I went with Canon is because I like to maintain the option to do some stills at a wider f-stop. If I only shot video, I might have purchased the Zeiss, which is cheaper. I can’t testify directly, but most everyone I know who have used the Zeiss 50mm didn’t like it below 5.6, some said 4.0. Depending on who I spoke to, some said it was not only soft, but quite unappealing in IQ.

The Canon isn’t perfect at 1.2, either, at least my copy, but I don’t know any lens that is (though some say Canon 85mm at 1.2 is razor sharp)–but still much better than the Zeiss wide open. I hear the focus ring on the 85mm is terrible for video, however, different than the 50mm.

But doing a lot of non-fiction, there are times when I really need low light performance, and having the option to use a 1.2 is a lifesaver. That’s why I got it. I’ve even done an interview at 1.2, which isn’t recommended, but it turned out great as the subject wasn’t a mover.

Another thing to keep in mind is if you’re using these lenses for a 7D or a 5D. DOF is different with both bodies due to the sensor size. If you have a 5D, you probably don’t want to stop down lower than 4.0 very often, which means on a Zeiss you’re starting to get to its optimal T-stops. But on a 7D, you often go down to a 2.0 or 2.8 or lower, and that’s when the Zeiss starts to fall apart, and the Canon lenses shine.

So it all depends on what is important for you. Zeiss is sharper with contrast that most film people appreciate more in the right aperture range, with a much better focus ring. Canon is great on the other hand if you do occasional stills and if you’re occasionally wanting to go wide open.

[Paul Kim]

Lance, how do you propose to fix moire in post? Or aliasing for that matter. Haven’t seen it done, but would like to know how to get around it if possible.

[Paul Kim]

Didn’t know that last tidbit regarding the gear that isn’t power supplied, thanks. I noted you’re a wildlife filmmaker, much respect to that as my mentor is likewise.

Mind if I ask what your ritual is at the end of the day, and what you use to bag up your gear when you’re trying to go light in the wild? Do you just carry enough baggies and throw silica packets in there while storing your gear in the evenings?

With HDSLRs they’re so small it’s pretty easy, but when I’m going heavy with Panasonic HD cameras and Canon lenses, not sure if I have the most effective way. If I’ve got Pelicans, that’s what I use, but I’m trying to move away from lugging those heavy beasts.