Phil Balsdon
Forum Replies Created
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There’s a fair amount of line shedding going on when DSLRs are shooting video which causes some loss of the image resolution. For a while I was using a mix of Canon L series, Sigma EOS mount and old Pentax and Mamiya 645 lenses. In video mode the difference was negligible, in stills mode the cheaper quality lenses don’t quite make the grade against the Canon L series (or the Mamiyas).
You also need to watch more carefully for “moire” patterning on detail when shooting video with sharper higher quality lenses.
Buying good quality used lenses is a really good way to get started economically, but at the end of the day your lenses will be a long term investment if you buy quality and they will out last a few generations of camera technology if you look after them.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Might be of interest
https://library.creativecow.net/lawrence_david/Video-Purifier_and_x264/1
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Bob, I have a new 24-105 bought 2 months ago and have not noticed a problem with noise from the IS.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Canon 60D has flip out LCD finder and manual control of audio.
If you want full manual control of iris get Nikon lenses and an EOS to Nikon adaptor and get the lenses “de-clicked”. You can’t modify the Canon iris it’s all internal electronics.
Rode VideoMic Pro or Sennheisser MKE 400, they’re compact and fit to the camera hot shoe.
Only downside with Canon is shot record duration of about 12mins, you just need to button off and on at a suitable moment losing about 1 sec of media.
Perhaps someone with first hand experience of Panasonic options can chime in with a suggestion.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
If you don’t have the original cards or a copy of them your only method is to transcode from the ProRes HQ to ProRes which is suitable for FCP 6. Any very minor quality loss will be negligible.
Transcoding HDSLR H264 footage to ProRes HQ will not improve the quality, it will just give you larger files, ProRes SQ is as good as it gets. Even ProRes LT is suitable a lot of projects (if you are using FCP 7).
All you get with ProRes HQ is larger file versions of an already quality compromised H264 codec. Transcoding to ProRes HQ is a bit like painting a Ford Fiesta a Ferrari Red colour and expecting it to go faster.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
It’s not an L series and only for APS-C but a professional cinematographer friend of mine finds this lens very useful on his 7D,
Canon 17-55mm f/2.8 IS. A review here https://www.kenrockwell.com/canon/lenses/17-55mm.htmI totally agree with comments about not using the IS on a tripod.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Pretty much all settings on the harbour bridge, it was quite a windy day. (I just turned it on and shot with it)
It really is useful when you have to do handheld interviews taking out the “jittery” effect you get with DSLRs.
I don’t use it on tripod shots though, tends to float about a bit when reframing if you need to track a more fidgety subject.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
A couple of months back I purchased a Canon L 24-105 f4 IS , mainly because its focal length range is good for interviews on my Canon 7D.
Last week I had a week long shoot following a group of people, continually on the move, lots of impromptu vox pop interviews. Sydney Harbour Bridge climb where tripods are not permitted for safety reasons and all camera equipment has to be secured to your person, it was a windy day. This was the first shoot I needed the image stabiliser for. The 24-105 images are almost tripod steady and what movement there is is more a slight but very acceptable gentle floating.
A stills photographer on the same shoot had an Canon L 70-200 II IS 2.8 which she let me try out, I’ve been contemplating buying one and was wondering if the extra $1,000 for IS is worth it, after testing the lens I decided the extra money for the IS will be worth it.
You don’t need IS all the time, most of my shooting is from a tripod, but when you do need it it’s a lifesaver, possibly a client saver.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
More info about your settings will help.
Original image files and your FCP settings.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Manfrotto make a head leveller. https://www.manfrotto.com/ball-camera-leveller
No not a carabiner (although carabiners would make clipping the rope to your pack and tripod easy). A jumar or ascender is a device that clips on a rope and slides in one direction only and locks. This would enable you to quickly tension the rope without needing to tie knots. They have a release that allows you to quickly release the tension. Hardware stores may have something alternative thats cheaper.
Example of jumar or ascender https://www.rei.com/search?query=Ascender
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/