Phil Balsdon
Forum Replies Created
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Karin, You need to give us more information so we can help you.
You say none of your Macs can read the card which would mean its not likely to be something you are doing wrong now. I asked if you were always using the same card reader. Try another card reader. Are the pins in the card reader damaged?
Because if as you say all your Mac computers give the same result it’s likely to be the card reader or the card or the way vision was recorded on the card.
Try putting the card in the camera and replaying it. If it plays you know you have pictures recorded.
Has someone accidently done something to the card by reformatting incorrectly? see if another type of computer will read the card.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Are you always using the same card reader?
Had a similar problem a week ago when given Sandisk SD 16Gb 30mbs card used in a Sony (SR12) ?
My regular multi card reader wouldn’t even acknowledge it, but it would recognise other SD cards and a 32Gb CF card.
Took the computer and the card to a store and tried a fairly expensive card reader, which asked me to reformat the card (no way). Tried a cheap SD UB 2.0 (no cable it look more like memory stick) and presto files showed up and transfered fine.
So not all SD card readers are readers of all SD cards.Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
With the EOS Plug in you get a form of timecode derived from the camera data.
This means that if you need to re import footage it can be done from your copy of the original CF card.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Are the Tamron lenses EOS mounts? If so yes they will fit.
If thet are another brand, Nikon or Pentax for instance you can most likely make them work with a suitable adaptor.
The 28-105 is a good lens for HDSLR video work. The 28-300 will work but it doesn’t have a constant iris function, which means as you zoom the exposure will change.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Steve, my DXA-SLR has Hi and Low Gain switches underneath. Mine are set to Low for the Zoom H4 Line Out with the Inputs set to Mic on the DXA-SLR. Sounds wrong but the levels coming out of the Zoom H4 are not full broadcast line out.
You may also find switching these to High will overcome your problem with the Rode NTG-2 (if you haven’t already tried this, that is).
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
The AGC Disable Function sends the tone signal as a control function to the camera. It doesn’t actually disable the AGC in the camera, it just sends it a constant tone for the camera to maintain a constant level to and stop it automatically raising levels (and thus background noise) when ever the main audio source in your microphone stops or is lowered. You are using it correctly. You can experiment a little with the levels you set your microphone at in the Beachtek.
If you set the Beachtek to Mono when using a single input it will send audio to both tracks. You’ll notice the left track waveform with the inaudble reference tone will look like a huge block with a few peaks compared to the right track that will look “normal”.
I still use a Zoom H4 inputting the mike into that, then line out into the Beachtek. The audio pre amps are not good in these cameras. Through good speakers in the edit suite the quality difference between audio on the H4 and that from the audio passed through to the camera is quite noticeable. I have the original H4 that has seperate line out and headphone out, as well as individual level control of each track as standard (and now available as a firmware upgrade on the H4n).
Recording dual system sound also helps overcome any problems with long running interviews. Leave the audio recorder rolling and quickly button off and on in the camera during an interviewer question. Pluraleyes will sort it out in post.Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
And the Canon plug in requires at least OS 10.5
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
Well at least you got None for Field dominance.
The rest I don’t understand ProRes SQ is ProRes SQ the same footage transcoded with any system should be the same file size.
Your data rate from Grinder is lower and your file size is only about 60%. Something doesn’t add up to me.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
I don’t know how Grinder did this but the specs said it was Upper Field dominant after importing. I couldn’t find anyway to set this to none on import and 45º fine diagonals had bad pixel aliasing.
When I enquired at Magic Bullet I got no reply, hence I couldn’t see the point in paying for it or pursuing it any further.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/ -
They don’t want to pay for an extra SFX supervisor during the shoot and since my camera/on set chops are limited, i’m trying to find out as much as i can.
Then hopefully you are contacted to an hourly rate not a fixed rate, making them financially responsible for their possible mistakes and you richer and a hero for fixing them.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/