Peter Ralph
Forum Replies Created
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John- you can easily set up a redirect page and have different html pages for Mac and PC. This is what most big sites do. Alternatively you can tweak the gamma when you compress the video and come up with a compromise setting that will work on mac and pc.
Are you on a mac? After all I have learned from you over the years I am happy to help (even if it’s for a republican candidate :O))
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John- you can easily set up a redirect page and have different html pages for Mac and PC. This is what most big sites do. Alternatively you can tweak the gamma when you compress the video and come up with a compromise setting that will work on mac and pc.
Are you on a mac? After all the help I have had from you over the years I am happy to help (eve if it’s for a republican candidate :O))
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I agree with what Rick says about DoF and atmospheric lighting.
There are different lighting needs for different formats based upon the available dynamic range/latitude of the camera.
HDV cameras typically have more or less the same dynamic range as DV cameras with the same size CCD.
Professional DV/HD cameras typically have larger CCDs and more dynamic range.
Film cameras have more latitude still.
The less dynamic range/latitude the more even the lighting has to be.
Also of course all other things being equal larger CCDs mean better low light performance.
peter
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You are talking about a vertical line that extends up and down from the light? I don’t know of any way to prevent this its a problem with CCD based cameras – but removing any filter or WA attachment will help.
peter
https://www.shootingbynumbers.com
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the feature you want is “clear scan” and the XL1 doesn’t have it. You could try find an LCD monitor, use a screen capture utility and composite in post if necessary
peter
https://www.shootingbynumbers.com
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to do this is you need to hook up the onboard mic to the second XLR input. You will need a female mini to male XLR for the audio and a micro mini extension for the power.
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Like Erik I find this to be a real pain. I’ve posted about it a couple of times, receieved plenty of suggestions but none worked. The only real solution seems to be to reduce the number of tracks on the timeline.
FWIW I use waveforms for cutting to dialogue all the time. To be able to finesse the placement of a cut at the beginning/middle/end of a pause in dialogue allows me to create a better flow to the edit. For music I’ll often just tap out markers and edit to them rather than the waveform.
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to me the most unusual feature of the COW forums is that a new post does not bring a thread back to the top.
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For FCP FW capture purposes the A1 and G1 are identical
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Mike the mke300 is a consumer mic – retails around $150, probably as good as any shotgun in that price range. Unfortunately on-axis gain is expensive to engineer, so pro shotguns start around $500 and will require an XLR adapter to work with the gl2.
You should get the $2 stereo adapeter Don mentioned. Reason: Correctly setting the levels dramatically improves the SN ratio, but also increases the possibility of overload/distortion/unuseable audio. So set ch1 at -12db and ch2 at -18db – then if ch1 peaks you can switch to ch2.