Phil Balsdon
Forum Replies Created
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I recently bought 2 Hitachi 2tb drive. Both DOA. Looking at the flimsy foil packing I noticed some marks and a small tear over the circuit board area. Sure enough the very exposed and extremely fragile circuit boards were damaged. All bad reports I’ve read about these drive failures have been DOA.
After some discussion with Hitachi and a reluctant supplier they were replaced. The replacement drives were carefully inspected before leaving the shop and installed and run okay.
The way these drives are designed with such fragile boards Hitachi would probably do themselves and their reputation a favour by using sturdier packaging.
Check them carefully before installing and they should be fine.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
It’s Final Cut Express 4, DVCPro50 and ProRes aren’t an option.
72dpi, 300dpi are irrelevant in video, its a print only thing.
You need to refer to the pixel dimension of the complete frame.DV PAL is 720 x 576.
Its not the best format for this type of work. You might be better choosing an HDV AVCHD format.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Sounds like for some reason the camera isn’t getting the signal to record. I’m not familiar with the T2i I have a 7D but sometimes I find the record light difficult to see. For this reason my default viewfinder has the grid activated which disappears when when I’m recording.
Silly me has occasionally used the still shutter button out of habit to try and start the camera, but you know immediately this is wrong when doing it.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
What happens to the clip numbering? Is everything stored on the card numerically sequential or are there clip numbers missing from the card where you thought you had recorded and clips are missing?
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
What Shane recommends for sure.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
B & H have a huge range of matte boxes at an equally large price range, it’s probably good place to start looking.
https://www.bhphotovideo.com/c/buy/Matte-Boxes/ci/16498/N/4279260956Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
DV PAL is the problem. Especially if text is a fine font or small font size.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Not point in going above ProRes SQ. Infact going to ProRes HQ as well as being large files may actually cause more problems.
If the project is not for broadcast and for DVD or the web ProRes LQ will most likely be sufficient.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
You can capture HDV via firewire as ProRes.
https://library.creativecow.net/articles/poisson_chris/hdv-prores.php
It may be camera dependent but this should also bring the camera timecode with it.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
When JVC designed this camera they asked a lot of professional cameramen all over the world what they required in a camera. It is therefore loaded with those features that give the control preferred by pros and devoid of consumer features that essentially produce an average but adequate result.
You therefore need a thorough understanding of video cinematography so you can tell it exactly what you want it to do.
You’ll find an excellent DVD tutorial for the JVC camera here https://www.dvinfo.net/shop/prohd
but this is still more about using the camera as opposed to being a professional cinematographer.Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/