Phil Balsdon
Forum Replies Created
-
I like that Michael, “Less Bad”.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
The problem is in the way it was shot. Over exposed areas that appear as white have no color information for plug ins to reference for a fix.
You can try Captain’s Blowout Fixer, https://pistolerapost.com/pluginz/
Talk to your cameraman and ask him to try and avoid this situation in the future. ie reposition the shot or light it appropriately.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
When you copy / duplicate the camera card footage to your drive you need to copy everything not just the video files.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
https://library.creativecow.net/ross_shane/tapeless-workflow_fcp-7/1
Works almost the same for FCP 6.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Sample in link looks stable to me.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Steve is this a problem with only the wireless mic or is it a problem with all mics?
If it’s just with the wireless mic compared to a hard wired mic you may need to make the adjustment in the output levels of the wireless receiver.
I’m afraid I’m still using the older H4 but manual adjustment of levels is available separately in both channels there, I wouldn’t have thought they would have left that out of the newer version. The menu system in the H4 is very complex though, I hate going in there to change things.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Don’t know if this is any help but 1024 x 576 is the square pixel resolution of SD PAL 16.9.
Might be worth trying an Uncompressed 8 bit PAL project and then converting that to NTSC with Compressor or the Nattress Standards Conversion filter.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
To simulate the look of film your shutter speed should be double the frame rate. ie at 25fps shutter should be set to 1/50th (at 24fps on a DSLR 1/50th is as close as you can get). This gives the same effect as the 180 degree shutter in a film camera gate, when the gate (shutter) needs to be closed for the film to advance one frame.
Adjusting the shutter to greatly faster speeds will give you an exposure of say 1/1000th of a second but it will be displayed on the screen for the same duration as your frame rate, say 1/24th second. This becomes a problem especially if you are panning or tilting because with the reduced motion blur of the normal shutter speed it will show up as severe strobing in the shot. (Lot of sharp edges rapidly jumping across the frame). This actually maybe a desirable effect if you want to slow footage down and see precise detail of a subject in the frame though.
So yes there is a big difference that needs to be taken into consideration between the use of shutter speed for still and video.
A Fader ND allows far more versatile adjustment of exposure for a set aperture than regular NDs that come in increments of .3 or 1 stop which means you often need to load two or more together to get the desired exposure. Here in the bright light of Australia I often find myself needing to reduce the exposure by 5 or more stops which is much more convenient when you simply have to rotate the filter on the front of the lens. It also means you can get away with only buying one filter.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Shoot it 720p60 and import it to your scratch drive (as Apple ProRes would be best).
Use Cinema Tools to conform your imported footage to 720p30 or 720p24.
Set up FCP as Apple ProRes 720p60. Import your conformed 720p24 or 30p footage, it should now play as slow motion.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
A Fader ND will allow you to dial in a precise exposure and retain a consistent f stop and ISO setting.
Buy one that fits your largest lens and then step rings in sizes suitable to fit it to all your smaller lenses.
Buy a reputable quality one not a budget copy which may have poor optical quality glass.
https://www.lightcraftworkshop.comCinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/