Phil Balsdon
Forum Replies Created
-
Larry Jordan has some really good Soundtrack tutorials that you can purchase and download online. Since buying them a few years back I’ve been much more confident about sending audio to Soundtrack rather than just making adjustments in FCP.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Re Canon choices, a very experienced DoP friend who owns a 5D and a 7D said to me prior to my purchase of an HDSLR 18 months back, “If your work is mainly stills go with the 5D, if it’s video the 7D (and now 60D) has better options”. This was good advice, I went with the 7D.
The ability of the 7D (or 60D etc) to shoot 720p at faster frame rates could be very beneficial for your winter sports coverage. On the other hand the 5D performs better in lower light and will give more extreme “bokeh” than the smaller sensors of the other cameras. The 5D will give much better regular still images.
This said a good HDSLR kit will set you back more than a regular video camera such as your HPX-170. To get the most benefit from an HDSLR you need good lenses with a wide f stop. You need a dual sound record system and a better viewfinder than the LCD on the back of the camera. You’ll need some form of ND filtering, probably a variable ND for shooting outdoors. If you buy a 5D and a second Canon HDSLR with the smaller sensor you’ll need alternatives for lenses at the wide end of the scale for the 5D and these will be expensive. If you choose a 7D over a 60D or the 5D you’ll need something like a Beachtek DXA-SLR to control the horrendous Auto Level in the camera because there are no firmware alternatives for this model.
Finally you be wise to wait until after 3 November because Canon a making some announcements between now and then, this may also include some form of pure video large sensor camera (seeing as one of the events on 3 November is in Hollywood I would expect it is more relevant to the movie business).
This all said I much prefer the look I get from my 7D and the advantages of it’s compactness over my 1/3″ chip video camera, and I’m prepared to overlook the less convenient video workflow features such as dual system sound, external filters and continually changing lenses of the system to achieve the results.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
If you are just sending each grab from your FCP timeline as Soundtrack Script it will open a new Soundtrack file each time you send each script.
This will take sometime with a lot of segmented files.If you have a lot of cuts in your timeline use the Multitrack method.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
You can apply Noise Reduction and “Save As Applescript” in Soundtrack. In Final Cut choose “Send To > Soundtrack Pro Script > “WhateverYouSavedAs”
Or if doing a Soundtrack Multitrack apply your Noise Reduction. Then in the HUD window choose Show Presets > User Presets > click the + button bottom left and give the preset a name. On the next grab from same camera take open Noise Reduction go to “Show Presets” and apply the User Preset you just saved.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
I would love to have seen the sequences shot over a longer time span. There are some dramatic shadows in some shots, shot over a longer time span with longer shutter interval these would have been great as the shadows moved across the scene. Also shooting changing light at the beginning and end of the day would have added to the drama of “timelapse”.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
You should be shooting the footage at 25fps in the camera.
Stick with this all the way until and only if you need an NTSC version, in which you need to convert a version of your final original edit to NTSC.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Hi Dave,
but he’s in India, a PAL country.
Far easier workflow to use the native format for his primary audience.It’ll also avoid issues such as shooting under fluorescent lights etc.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Work in 25p, it’s so close to 24p. (Real film shot for TV in PAL countries is shot at 25p).
This will play okay on the internet and work when put to DVD in your country and other PAL countries.
If you have to produce NTSC DVDs it is better to convert from PAL to NTSC than the other way round because the PAL image has more information.
Most international film festivals will start accepting HD versions which are much better quality than SD on DVD.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Even a fast flashing pyro won’t fade fast enough to cause a problem, with strobe we’re talking 1,000ths of second.
I would however talk safety issues with the pyro guys. ie how close etc is still safe.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
JVC HM100U records HD Quicktime files that can be dropped straight into FCP timeline.
Top handle can be removed if you want it really compact.
https://pro.jvc.com/prof/attributes/features.jsp
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/