Phil Balsdon
Forum Replies Created
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Maybe you’ve tried all this but change all audio kit connected to the camera, cables, mikes, headphones.
Disconnect external monitor or anything running mains power. Turn your mobile / cell phone off.
If it still persists you may need to take back to JVC for a solution.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
This is the result of shooting under fluorescent lighting with out of sync shutter speeds.
See how the flicker changes as you change shutter speeds. When in PAL environment shoot at 1/50 shutter speed and in NTSC 1/60. Shooting outside these speeds will cause flicker under fluoros.
What’s with the PAL at 29.97? This is wrong, PAL is 25p.
There’s nothing wrong with the camera, all film video and video cameras will behave like this.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
If you still have the CF card you could view the shot from your camera in a monitor. Carefully mark essential reference points around the edge of the frame on your monitor. Match your new shot to these marks.
Framing your new shot slightly (very slightly) wider should allow you make resize adjustments in post to get a near perfect match.
Other suggestions; Have something move across the foreground and use a transitional wipe or rotoscope the edge of the foreground object moving across from the original to the new shot.
Morphing software to get from your original to the new shot?
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
ProRes SQ or HQ?
Your external drive is connected with Firewire or USB?
3Gb of ram is a little under.
Your friends version of FCP is?
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
I had a similar issue a couple of weeks back.
Shooting chroma key with two cameras and 2 angles, JVCs a 111e and a 251e. The director wanted to see the keys live (but do the actual keying in post) so hired in a keying system. Video was output from both cameras to the keying hard ware which was mains powered.
Audio recorded on the DR HD100 drive (Quicktime mode) on the 111e had the same issue you are seeing. It was not on the taped version, so therefore not a flaw in the incoming audio. We put it down to earth loop hum from the mains power to the keying hardware which was connected to the camera with a video cable.
Normally I work with a battery powered external monitor. Did you have some kind of mains powered device connected to the camera? Never seen it before on this JVC camera, but have the issue on other cameras in the past being powered by an external transformer.
Simpler explanation might be some kind of radio frequency interference at the location.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Things to consider when choosing a Steadicam – Merlin v The Rest.
The Merlin is high build quality. It was also designed by Garrett Brown who invented the original Steadicam and he has a far better understanding of operational features than anyone. It was not built with lowest cost as a priority, the quality and performance were more important.
It’s very lightweight, probably the lightest in its class, this is very important when considering the operational style, even a couple of pounds is going to get heavy after a short time, (if you don’t have the vest and arm option).
The Merlin doesn’t have to be removed from the camera to do a traditional hand held shot, it can simply be folded under the camera and actually used as a hand grip. Convenient and time saving. Useful for run and gun style shooting.
The vest arm option is the same as the Steadicam Pilot, this means you can economically upgrade later.
Whilst the vest / arm option will help heavier cameras with longer lenses, the problem of focus is always going to be there with DSLRs and their low depth of field, you cannot physically rack focus on the lens whilst shooting, you need a remote device. With film cameras this is normally done by a very skilled focus puller with a wireless controlled device (expensive). Some traditional video cameras have focus motors built in and can be remotely controlled by after market devices. There isn’t much low budget equipment yet available for DSLRs.
Finally, you are not going to be able, as a first time operator, to buy any Steadicam off the shelf, walk outside put your camera on it and start operating. You need a good understanding of how to set it up and balance it for optimum performance (this is more fiddly and requires more precision, on smaller rigs). Then you need to practice the operating techniques just the same as if you were learning to ski, surf or ride a bike. If you want to get up to speed quickly take workshop. (Almost all the big time steadicam operators started with a workshop early in their careers).
A well performed and appropriate Steadicam shot will enhance a production, it is also the most satisfying and challenging job in the camera department. I’ve taught a lot of workshops and I don’t recall a single student who was not inspired by the possibilities of what can be achieved…. with practice.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
You need a baseplate / rail system that allows you to adjust the height of the rods.
I use a Genus system that does this and allows the rods to mounted the alternative way up for even greater adjustment options.
I think most systems from other manufacturers do this too.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Any masks applied in front of the lens will only give you a 2:1 image with a black area (probably with soft edges top and bottom of frame. You’ll have to fix it in post anyway.
Just mask or mark your viewfinder or monitor headroom and foot room when shooting.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
If it was working fine, and you haven’t changed the way you are now trying do it, try trashing your FCP Preferences.
A search on this forum for “Trash FCP Preferences” will bring up plenty of results if you don’t know how to that. It is something you need to do every so often.
There are also free Trash FCP Preference apps downloadable online that will simplify the task and enable you to do this regularly.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Remember that if you need to do continuous records of longer than 12 mins you will not be able to do this with a DSLR. You will need a traditional video camera.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/