Phil Balsdon
Forum Replies Created
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I’ll clarify that,
I would love an audio recorder that recorded time of day as this would make locating which audio and video files belonged together in the event of a problem.
And that’s small and light weight enough to be attached to the camera when necessary.
Probably why I haven’t upgraded to the H4n (which unlike the H4 doesn’t have separate line and headphone out and therefore the headphone volume controls the line output volume) or the Tascam which looks easier / simpler to use than the H4n.
I’m sure if I wait it’ll eventually be invented.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
What Shane said.
With DHSLR you’ll need extra lenses, each with a maximum zoom range probably of only 3.1, which means regular lens changes on a shoot.
If you want quality audio you’ll also need a recorder to record dual system sound.
All this extra equipment rapidly increases your budget.
You’ll be restricted in video shot duration.
This also means a vastly more complex and time consuming work flow in production and post production.
Shooting with HDSLRs is very similar to the work flow of a film production, if you don’t have the experience, time or patience you’ll find it a hassle, and the only really significant benefit you’ll see in the end product is the shallow depth of field factor.
Having said that every client I work with would now prefer to shoot with my HDSLR system – unless recording something like an seminar or long presentation when we can’t stop the camera roll.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
I use a 7D with the earlier Zoom H4. I shoot a lot of interview footage as a one man band crew and have to stop start the camera a lot during a question due to the max file size restriction, but I let the audio run. To keep the files reasonably organised I change the camera card and H4 card together. I then transfer (using “New Image” with Disc Utility on a Mac) and put these .dmg files (labeled video and audio) in the same folder on a hard drive. This is so as not to confuse the file naming protocol of the H4 which starts each card with 000 file number.
In post I then sync these files with PluralEyes a card at a time, with files loaded in correct sequence. This seems to keep the amount of work PluralEyes has to do to a manageable volume and keeps my original files organised for archiving.
The only time I’ve had a problem was with talent reading numerous takes of the same short pieces from a teleprompter – the wave forms were obviously very similar. In future I’d always id this type of recording with a visual and audio clap.
I would love an audio recorder that recorded time of day as this would make locating which audio and video files belonged together in the event of a problem.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Yeah probably the most sensible advice.
Did this as an annual clean and restore when there’s no work for a couple of weeks.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Yes Shane, they have downloads / upgrades that are supposed to make it work. They don’t, and unfortunately advice from Matrox is “try this” “or then try this”. I’m not the only person having issues with it.
I was hoping someone here had maybe figured it out. It certainly has problems with 50p / 60p frame rates but the issue with Color Bars is quite odd and mentioned a number of times on the Matrox forum. They really shouldn’t imply it works when they clearly are having serious issues.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
The cameras don’t record timecode.
A good option might be to use PluralEyes or DualEyes from singular software to sync the cameras and your master audio track using the audio track waveform.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
When I use the 7D on my Steadicam Flyer I use the SD video out from the USB out on the camera. The steadicam monitor needs an SD analogue feed.
I can transmit this video from the steadicam with a small video transmitter to an SD monitor if necessary.
For all other video from the camera I use the HDMI out to a smallHD monitor on the camera. If I need a second monitor for the director I use a full HD 20″ LCD fed from a powered HDMI splitter.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
My understanding was that the HDMI output reverted to SD during record, and not only duplicated, but replaced the output to the LCD.
This is only on the 5D not the 7D.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
In which case using a too fast shutter speed could reveal the ball as a line of tracer dots crossing the frame when replayed at normal speed.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Shoot 60i interlaced.
A fast shutter speed will render the ball a series of strobed “tracer dots” crossing the screen. Panning fast especially if profile angle will be very “strobey” with too fast shutter speed. Use the shutter only on isolated shots with little camera movement that you may wish to slo mo in post for detail of the action (ie someone serving).Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/