Phil Balsdon
Forum Replies Created
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You could look into reputable alternative brand lenses. I have a couple of Sigma lenses in my kit and they perform very well and for video shooting resolution is less of an issue due the line shedding the camera process has to do to create a 1920 x 1080 image from the massive number of pixels on the camera sensor.
Tamron and Tokina would be other brands to consider, but in the end you always get what you pay for and your lenses will always outlast your camera body technology.I also bought a couple of lens adaptors so I can now fit lenses from my Mamiya 645 medium format camera and my old film SLR Pentax cameras (some of these lenses are 30 years old and hold up very well). This gives you the option of looking for good second hand lenses and purchasing a relatively inexpensive adaptor. (I use Fotodiox adaptors).
Re purchasing online, I’d suggest you ask around about the reputation of the seller. Its better to purchase from within your own country, because if you purchase from a foreign country its likely for a warranty claim you’ll have to return the item to the seller in that country for repair.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Kristian, your problem is not moire.
Your problem looks like something to do with exposure or changing light from frame to frame as the whole picture frame is changing in brightness.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
In theory the same f stop will give the same exposure from camera to camera provided the camera ISO or GAIN is matched on the cameras.
However the depth of field on the cameras you are comparing will be vastly different due to the sensor size, the DSLR will have vastly softer backgrounds, especially if you use a low ISO and or ND filters.
There are 2 reasons to use a DSLR camera in preference to regular video cameras. Firstly they are small, making discreet unobtrusive shooting or shooting in confined spaces easier. The second, and main reason is low depth of field quality. If you don’t buy fast lenses (at least f2.8) you will be restricting your ability to use this feature. Then one would then have to ask if you wouldn’t be better off in that situation using a regular video camera for a workflow that benefits from recording interviews with takes longer than 12 minutes with good quality synchronised audio.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Would adding more RAM make the golf render faster?
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Not enough info to help you in your post. You’ve got audio and you’ve got video.
But;-
What are specs of the audio files?
What are specs of the video files?
How did you get this material into FCP – did you log and transfer video to ProRes?Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Moire problem, something you have to aware of with DSLR video. Most commonly occurs on fine line detail such as your example. It’s caused by the need to “line shed” pixels and reduce the frame pixel size to 1920 x 1080.
Try the DSLR Moire filter here; https://colorbyjorg.wordpress.com/plugins/
Be careful not to apply it with too high settings it may affect the colour balance of the whole image.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Cut and prepare the panels prior to he shoot, get someone to slip them into place under the lens when you zoom in to a close up, maybe a section at a time one above the other. If they’re on plexi glass they’ll bend and clip into place quickly in the gaps at the side of the doors. Don’t forget to block the bottom up so they can’t fall through into the well.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Adding distance between the lens and mount will increase the problem.
As has already been mentioned your sensor size is much bigger than the 16mm format these lenses were intended for.
Your second and major problem is the focal plane of the camera is too far back from the lens. You could only rectify this by removing the mirror from the camera (as they do with PL mount conversions) and building a mount that allows the lens to intrude into the camera body.
You really don’t want to go there, especially as it may not work and the process may not reversible and leaves your camera useless for stills work.Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Attach matching bottles to the outside of the poly carbonate to camouflage it, so it just looks like bottles?
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
You could use Compressor, MPEG Streamclip or Grinder to convert the H264 files to ProRes.
You won’t get the data to timecode that you get from doing the log and transfer with the EOS plug in but that’s all you’ll lose.Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/