Phil Balsdon
Forum Replies Created
-
What is going to be the most benefit to you?
The zoom feature, or a lens that’s 1.3 stops faster (a little more than twice the light through) with slightly increased bokeh.
If it’s the second you may want to also consider the Canon 50mm f1.4. 2 stops or four times the light and even more bokeh.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
I don’t think you’ll have the same issues.
The strobe light problem is caused by the lighting pulsing flashes of light that are faster than the shutter speed, therefore causing only the portion of the chip that was exposed during the pulse to be exposed.
Pyrotechnics are constant burning sources of light with no pulse similar to tungsten, essentially just fire light.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Well if you’ve got an iPad this is free
https://itunes.apple.com/app/vwave-lite/id396656811?ign-mpt=uo%3D5Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
The reason to use a super flat profile is to preserve as much information in the highlights and the shadow areas as possible on the original camera files.
This allows the most latitude for images for grading in post production. Without the grading process the “superflat” pictures will look washed out and unattractive.
If you don’t have the time, patience or skills to grade in post don’t use a super flat profile. Use Canon “neutral” or “faithful” or even “standard” or whatever generates a look that you or your client find appealing. The final graded “look” is after all a personal preference.
Use of a “superflat” profile will however generate a better final result with time spent grading in post.
I use the “Technicolor Cinestyle” profile, the same as Peter, for my own productions. For other clients I discuss the matter with them or their post production people prior to shooting. Australia where I live has a very harsh strong sunlight that can make contrast difficult to deal with, so a flat contrast image is very helpful. Using less “sharpness” also assists in minimising “moire” and “aliasing”.
All the video on https://www,trueblue-australia.com.au is from a Canon 7D using the the “technicolor cinestyle” profile.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Trash your FCP preferences, on the couple of times I’ve had similar problems this fixed it.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
As Noah said, there are better ways that will inevitably cost more for the camera but….
These better ways don’t just mean a better technical quality result they also mean a smoother workflow with less problems and thus less time too in post.
In the end the savings in purchasing a lower cost camera could be more than consumed by a more complex and slower post production time.Sony F3, Sony FS100, Panasonic AF100. RED Epic, Arri Alexa etc etc.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Found this; https://philipbloom.net/2010/11/21/gh2/
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Probably what I meant. Sorry no first hand experience with Panasonics, only Canons. Philip Bloom mentioned the Panasonic clean output but said it wasn’t entirely without problems.
Maybe one of the Panasonic guys here can chime in.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Canon cameras do not output a clean HDMI signal so it’s not possible to record externally from any of the Canon HDSLRs.
Depending on circumstances, it is possible to do this with the Panasonic G3.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Have you considered using the Canon EOS Movie plugin to Log and Transfer the footage into FCP. This method converts camera data embedded in the footage to timecode and would make any re-connection to higher ProRes later much simpler as you’ll get matching timecode.
Do a search for Shane’s HDSLR Workflow tutorial on this site.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/