Phil Balsdon
Forum Replies Created
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or forgot to disable it in the 7D
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
They figured it out later, on the 7D, whose image remains intact in this situation.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
I’m in Sydney Australia. Local rental house Lemac has the 251E cameras for hire. I have the gear needed to do a transfer. (I own a 111E). I don’t think the 111E will work though as they’ve probably shot at 720 50p and 111E only does 25p.
Long way to send tapes though.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
What part of the world are you in?
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
The T2i and the 7D both shoot 720 60p which is great for action sport and creating smoother slo mo replays.
You will need to spend extra money on suitable lenses for the HDSLRs though. You can save money by buying good used 35mm lenses and adaptors to fit various lens mounts to the EOS cameras. (Fotodiox?).
Audio is another issue too. You’ll get best quality by recording dual system sound on another device (Zoom H4n?). The 7D only has AGC for audio levels, you can overcome this with something like a Beachtek DXA SLR. All this means extra expenses though.
Finally there’s the duration of record issue, you’re limited to approximately 12 mins maximum per shot with the HDSLRs, so if you nedd a record of event this may not work, in the time you button off and on a critical basket point could be scored and you missed it.
If you’re not doing record of event but just some some really great action sequences you’ll get great results, but research and budget for the lenses and audio issues I’ve mentioned.
Research all this before committing, maybe hire some kit and try it out before making a possibly expensive wrong decision. (There are many other options other than the brands I’ve mentioned here, they are simply what I use and they work well for me.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
The Canon plug in is as far as I know the only way of getting some sort of timecode none of the other methods do it(Compressor, MPeg Streamclip etc).
So if she wants timecode from the camera clips that’s how she’ll have to import.
You haven’t told us if you have a mixture of 1080 and 720 to work with, if it’s all 1080 that needs to be converted on output to 720 its best edit it all as 1080 and convert later probably with Compressor. If it’s some 720 footage and some 1080 then set up a 720 sequence but don’t allow the sequence to re set itself to 1080 if the first item added to the sequence is a 1080 clip. There’ll be a lot of rendering.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
If you import using Log and Transfer and the Canon CE1100X plug in the time of day data from the camera gets converted to timecode.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
And of course there’s Shane’s Tapeless Workflow tutorial
https://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
You’ll find this really useful, Shane’s Tapeless Workflow tutorial.
https://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1Don’t forget many of the answers are already here so doing a search before you post will often solve the issue sooner for you.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
But you should still copy the card to a hard drive (and preferably make a back up to another drive) and then Log and Transfer from there.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/