Phil Balsdon
Forum Replies Created
-
Ravi, I’m pretty sure you can sort this. You don’t mention any specific settings when you shot in manual mode. Does the Nikon allow you to set a shutter speed of 1/50th in 24p?
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Really can’t help you with Nikon settings I’m sorry.
Banding like this is very difficult to remove in post, if not impossible.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Check the settings, as Colin said they’re not correct PAL with that frame rate.
Also I live and work in Australia and haven’t shot an SD job for years, those pixel specs are SD settings.
You should be able to shoot 1280 x 720 or 1920 x 1080 but you must be at 25fps or 50fps and the conversion will be easy to any PAL system.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
At f2.8 you will be restricted to lenses with a zoom ratio of only 3 to 1. Unless you are in a very large area the 70-200 is not going to give you a good wide shot. The Canon 24-70 might be more practical but not give a great close up. The 24-105 might be better but it’s f4.
To be honest, with all the other complications involved of shooting a long duration concert with a single DSLR camera (shot duration, audio quality and lens focal length) I’d consider renting a regular video camera for this shoot. Most these days will record for the duration of the concert, come with a zoom that is at least 10 to 1 and a suitable f stop, and record good audio quality, especially if you can get a feed from the concert desk.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
I think Peter is correct. This looks like it is being shot under fluorescent lighting.
If you are in a part of the world that has the PAL television system you need to shoot 25fps with a shutter speed of 1/50, or 50fps with a shutter speed of 1/100th.
In an NTSC region you need 30fps at 1/60th or 60fps at 1/120th. As I have only a little experience with NTSC regions I’m unsure of 24fps settings.
It must be possible for you find the correct setting as your camera does this successfully in AE mode.
From the image I’m guessing you are using a Nikon. Some Nikons have restricted fps rates that can make shooting in PAL regions a little more complex.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
ShotPut Pro.
“Offload any digital media card including Panasonic P2, AVCHD, Alexa, Sony SxS, Sony AVCHD, JVC ProHD, RED ONE, Canon 5D/7D or Canon AVCHD, Compact Flash, SDHC cards, and others. Make secure, auto-named copies of a card or hard disk’s contents in unlimited locations”
https://www.imagineproducts.com/index.php?main_page=product_info&products_id=2
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Even if you achieved getting all the levels etc sorted in the camera the quality of the audio recorded on a Zoom H4 or Tascam DR-100 will always be better than on the Canon HDSLR. The audio technology, (pre amps etc) in these cameras is not up to the standards of these digital audio recording devices.
Use PluralEyes to post sync, it’s very quick and easy to use. Alternatively a film style or iPad / iPhone slate app and sync manually.
Sync all your audio before editing.
A Beachtek DXA-DSLR tricks the auto gain of the Canon 7D by feeding an inaudible tone to the camera track 1 causing the audio record level to remain constant.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
We used to do this a lot prior to NLE systems that now have quite sophisticated colour grading tools.
What we used then was grades of blue lighting gels (normally 1/4 CTB) held over the lens when we balanced. Another more economical trick than spending so much money on a set of “warming cards” was to go to an office or art supplies shop and buy a few different light blue pieces of paper. Experiment a bit and stick with the ones you prefer. Pure blue tends to turn skin tones a bit towards yellow, a slight cyan tint keeps them a little more towards a healthy orange.
These days a clean white balance will get you a good neutral setting that can be tweaked to perfection in post and only certain tones ie skin can adjusted without changing other colours in the scene.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
I had this problem on Snow Leopard when Quicktime 7 upgraded from v7.6 to v7.7. Nothing from my DR HD100 would play.
Unfortunately you cannot reverse the upgrade Quicktime is part of the whole OS. Solution was a complete system re-install and not let Quicktime upgrade past 7.6.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
What is the drive formatted as? FAT32 format only accepts limited file sizes (4GB).
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/