Phil Balsdon
Forum Replies Created
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That really is much better, the only place the I really noticed any stutter was a whip pan on to frame that wasn’t following any action but even a good film camera at normal speed isn’t capable of that kind of pan speed without stutter.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Not sure why you chose to shoot some footage at 1080 30p and some 720 60p. You’ve either got to up rez or down rez some of the footage now to make it all match, messy, especially with varied frame rates and shutter speeds on original footage.
It would have been better to shoot the whole project 720 60p and only conform the shots you required as slo mo takes as 30p in Cinema Tools.
You’ve also shot at 1/125th sec shutter speed. It would have been better to have shot at 1/60 the “normal” film style rate for 30p, which is what your sequence settings are. As a result of the 1/125th setting your motion nows has much sharper freeze frames that make the stutter more obvious, some motion blur is useful especially on background static objects. Also your depth of field is fairly “deep” this also creates lots of sharp focus in the back grounds and as you pan the camera with the action they stutter more obviously than if they were soft focus.
Better would have been to have shot everything 720 60p, shutter 1/60th. Use wide open lens, f2.8 if possible. Edit in 720 60p sequence and conform only the takes required as slo-mo to 30p.
Results should look similar to slow sequences in this clip https://www.vimeo.com/13637278 except I’ve slowed the frames by an additional 50% in FCP with motion blurring off.
NB. Only the Canon 5D originally came out with strict 30p setting.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
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There’s also this adapter by Fotodiox.
https://www.amazon.com/Fotodiox-Adapter-Visoflex-Camera-Digital/dp/B002JXZL4Q/ref=pd_cp_p_1Fotodiox have a good reputation, I’m not having any problems with their adaptor for Medium format 645 Mamiya lenses on my Canon 7D.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Can’t see why not, looks like a very nice set up too.
Of course all settings will have to be done manually, I’m having a lot of success with Mamiya 645 lenses this way.
Voigtlander is my mother’s maiden name, wish there was a family link.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Ha Ha David, the cheeky smile in your profile pic says it all.
But jam rhymes with RAM, more of it equals quicker!
(Sense of humour plugin applied).
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
What Michael said, each card needs an ident that logically distinguishes it from every other card in the project.
Copy / duplicate all data on the card not just the video files. Then duplicate / copy them again to another drive for security.
Have someone shot list what’s on each card to make things faster and easier to find in post production.
It’s such a simple procedure people often think it’s unnecessary and couldn’t be bothered, until something goes wrong. Sometimes they even designate a volunteer, intern or trainee to do the task – any problems due to incorrect procedure will not be found until post production.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
[Peter DeCrescenzo] Just an FYI: I was pleased to see Panasonic’s new AF100 m4/3 camcorder has a “Synchro Scan”
Hi Peter, I’ve always been a big fan of Panasonic, always preferred the Varicam as an HD camcorder.
The thing with the AF100 is it’s only a 4/3 sensor. When will manufacturers find out exactly what cinematographers want or just research what is driving the market and why? The Canon 5D is the most popular HD DSLR camera. Why? Because it’s got the largest sensor which offers the lowest depth of field. The 7D is more economical and has other features such as 50p / 60p recording. The 1D Mk4 is more expensive with formidable low light capabilities but the 5D is the better seller. For this feature alone cinematographers and directors are prepared to put up with all the other problems of shooting moving images with these cameras, and there are many, but for which there are work-arounds. There is no work-around that will replace the benefits of the full size sensor.
Sadly the moment another manufacturer offers an equivalent camera with a full 35mm size sensor the Panasonic AF100 will be an also ran.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
It’s also a more precise way. You’ll be able to play back the clip on location in your monitor, freeze it, mark essential points in the shot very carefully on your monitor screen. Turn off replay and you should see your new shot in place of the replayed one.
Making the shot fractionally (minutely) so all four corners include the information in the extreme corners of the original shot will allow you to rotate and slightly zoom the image in post for a perfect match. Your chances of getting all 1920 x 1080 pixels matched via the monitor are very remote.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
I guess it’s conceivable that some mercury vapor lamp effect might have crept into the footage but I don’t think so..
Maybe Canon can help. I’m taking it in tomorrow.
Maybe you also need to contact the Japanese energy supplier and ask if it’s 1/60 and not 1/59.8 or something almost close to, because your shots almost sync at that one odd speed combination you’re finding fault with.
Hardly an “achillies heel”.
Remember these cameras were originally offered as something press photographers could use occasionally for video. You know, the guys that work for the newspapers that now need video for their online services.
Us lot, (film and video shooters) discovered the wonderful properties of full sized CMOS chips. They’re not primarily designed as video cameras and so very very occasionally they may not be the quite perfect tool for the job. They do not have a “clearscan” function that allows syncing at infinitely different speeds.Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
You can replay the clips off the CF card in the camera, I was hoping you hadn’t erased / reformatted your card though.
I’ve never tried copying the files back to a card. Obviously though you have to replicate the whole card so you had all the data.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/