Phil Balsdon
Forum Replies Created
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The camera is simply a tool for you. Choose the one that you feel most comfortable with for your work and budget.
There’s far more to image quality than pixels and bit rate and having the camera that feel best with is important. So is lighting, framing etc etc.
Consider also the implications and cost of changing systems, lenses in particular. EOS lenses don’t play well with other systems. Also post workflow, audio etc etc. Does it work for clients that do their own post with your work? Take into account how much this will affect your budget and if it’s reasonable for you change to the Panasonic. I’ve seen a lot of impressive footage from the GH2 online.
Also consider that camera technology changes and upgrades very quickly, so what you buy in the body will be superseded very quickly. Lenses however last a long time if you buy quality.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
When you open Log and Transfer select the Canon EOS Setting, the default this is Apple 4444 (this is for complex effect editing of uncompressed material that needs an alpha channel. Clicking the little arrows will open a selection that will enable you to choose to a more suitable setting.
Phillip Bloom, and I through experience concur that Apple ProRes SQ or ProRes LT are perfectly adequate. I use both, favouring LT for online projects and SQ if the project is for higher use or entails more complex editing with effects etc. (SQ may not be a prefix in the settings but simply listed as Apple ProRes).
Are you actually finding a sync point in the audio or is the audio drifting in and out of sync after syncing?
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Cinematography or photography is all about the control of light to meet an expressive end. Everything needs to be examined and considered, unless you are doing bottom shelf ‘run and gun’ work with no concern for quality.
Thanks for letting me know, but with over 40 years of experience on tv broadcast shooting film and video, international award winning documentaries, and feature films which have had Academy Award nominations, I think I’d already figured that out.
Robin says he was looking for a quicker method when using his 7D as a B camera shooting interviews. I used to use the grey card method when I was also doing stills back in the 1970’s it’s very accurate if placed so a reading can be taken at the position of most important exposure. I own six light meters, very useful but often there’s no time to run around the set taking spot reading whilst the director, interviewer and interviewee wait, so not really under those circumstances the right tool for the job.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
You could take along a 70% grey card.
Set camera light meter to spot and take a reading off the card in the area you need correct exposure.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
ProRes 4444 is a total waste with 7D footage. Your quality won’t improve after ProRes SQ our files will just get big and sluggish.
You obviously realise by now your H4 settings were wrong. Try converting the original WAV 44 to AIFF 48.
How are you syncing, with a slate or using PluralEyes?
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Try PluralEyes, I’ve been surprised at what it can match up a couple of times. It has a few features you can select to help replace poorer quality audio on the camera recording.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Depends on how familiar you are with the camera. Your brightness settings on the screen could be very misleading.
Half pressing the shutter button before recording, or using the central button top right on the back of the camera will give you an exposure reading in the viewfinder, as per stills shooting. Learning how to use and read this is a good idea (spot, average etc).
If in doubt favour slight under exposure.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
A little over 20 minutes
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Ah yes Magic Lantern, not appropriate for the 7D. Oh Why oh why……
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
The Canon 7D gives me composite video out (and audio) from the USB, which I use as the SD video feed for my Steadicam.
Why oh why don’t all the Canon family have the same DNA?
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/