[Pete Burger]

That’s the cool thing about Magic Lantern. It’s installed on the card, not the camera. So, if you switch on your cam with a card that has Magic Lantern installed, Magic Lantern boots (takes about 2 seconds). If you use another card or format your card: Magic Lantern is gone.

[Pete Burger]

ASA is the american linear standard and DIN the internation logarithmic standard. The ISO value is a combination of both. So (at least with analog film) you have two values. The ASA + DIN (in degrees).

With digital cameras ASA = ISO.

There is a way to shoot with multiples of ISO 160 even with a T2i, if you use the Magic Lantern firmware.

From experience I can definitly say it makes a huge difference concerning noise.

hth

[Pete Burger]

See here: https://forums.creativecow.net/readpost/280/6489 😉

Yes it’s possible with both cams!

[Pete Burger]

Normally (depending on, which camera you’re using), you’ve got quite a variety of shutterspeeds. So, no worries about that! The VDSLRs handle shutterspeeds from 30 up to 4000 (My T2i with Magic Lantern even has 48fps for 24p video).

[Pete Burger]

Thanks Frank, wearing glasses myself I appreciate your post. So, Letus off my shopping list.

[Pete Burger]

Haven’t tested them myself, but here’s an article/test I found some time ago:

https://www.dvxuser.com/V6/showthread.php?200980-Caprock-Anti-Moire-Filters-Tested-on-the-7D

Maybe this helps

[Pete Burger]

Not working on a MAC, so can’t help you with FCP questions.
What I do, is backup the original files from the camera on two different backup drives for safety reasons.
Transcode the files to an editing codec (in your case ProRes), do all of the editing and postproduction work with the transcoded footage.
In Premiere there is the possiblility to “clean up” the project (remove all of the unused footage from the project) and backup the project as well (which means only a couple of megabytes). Of course the finals are backup’ed as well…

When my clients are happy and have paid me (they sometimes do 😉 ), I delete the transcoded footage, “only” keeping the two backups of the original material and the backup of the project files.

Timecode shouldn’t be an issue, since the Canon files don’t have one…

If I have to get back to an old project, I “just” have to re-transcoded the needed files and work with them…

hth

[Pete Burger]

Wireless remotes, like this one?

https://www.amazon.com/Opteka-RC-4-Wireless-Control-Digital/dp/B0019RGQVU/ref=sr_1_3?ie=UTF8&qid=1306848396&sr=8-3

As I said (or wrote): haven’t tested it, but might work… Not shure though, if they support movie recording…

I got the T2i, which has a “movie mode” and remote controllers seem to work with it. The 5D MkII doesn’t have a special mode for video, has it? Haven’t been working for quite a time with the 5D…

Edit: I googled around a bit and it seems, there’s now such thing as a (wireless) remote controller that triggers the record-button on the 5DMkII…

[Pete Burger]

Another idea: Start the cameras with a remote control. If the cams are set up in a way, the remote reaches them all at once, this could work. Haven’t tested it, so no guarantee…

[Pete Burger]

Since those cameras don’t use timecode and you can’t sync them, it maybe would be best to use a clapperboard or something else which gives you a signal to use for manual syncing (maybe shoot a clock with all cameras then, without stopping them reposition them. Or clap your hands on camera, …)

I’m not familiar with the multicam workflow of FCP, but there’s a great plugin called Plural Eyes, that helps with syncing.