Phil Balsdon
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I link the sound from the Zoom H4 Line Out either with a radio mike or a cable with pad to the 7D. Philip Bloom claims success with a reasonable quality external camera mike (Rode I think) on the camera.
After that it’s just a careful and professional approach to the workflow. It’s just double system, like on film, without the clapper.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
My trial version came with a video tutorial, it worked so well I upgraded to full.
There are more tutorials on their website.
https://www.singularsoftware.com/tutorials.html
The difference in quality when recording the same audio source directly into the 7D and a Zoom H4 make the software an essential tool in post production for these cameras.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Its FCE (Final Cut Express), Apple Pro Res and DVC Pro50 aren’t compatible.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Some rail systems allow the adjustment of the height of the rods.
I’m using the Genus system, it does. It also has a completely flat base, necessary for Steadicam mounting. I also like it’s simplicity.
https://www.genustech.tv/genus-products/genus-dslr-adaptors-bars-system.htmlThe Zacuto DSLR Baseplate #Z-DSLR-B also allows adjustment
https://store.zacuto.com/DSLR-Baseplate.htmlCinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Or this
https://www.mcetech.com/optibay/
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Is what you are seeing cropped to 4.3 or is it squeezed to 4.3?
All HD / HDV is 16.9. True HD 16.9 is either 1920×1080 or 1280×720.
1440×1080 becomes 16.9 by stretching the 1440 pixels from square to rectangular to make the whole image the same width as square pixels would at 1920×1080. The replay deck for the format automatically replays the 16.9 aspect ratio.
If you are looking at 1440×1080 as square pixels (in Quicktime or similar) it will not appear to be 16.9.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Probably the best made rig for this camera is the Steadicam Pilot.
https://www.steadicam.com/pilot.html
I’d suggest you also consider a workshop, if you’re in the USA Peter Abrahams conducts great workshops for the lighter rigs.
https://www.thesteadicamworkshops.com/
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
The DV and HDV firewire are separated on these cameras.
The DV side can be functioning whilst the HDV is faulty.You could try downloading the demo version of Veescope Live and connecting your camera that way.
https://www.dvdxdv.com/NewFolderLookSite/VeeScope/Products/VeescopeLive.overview.htmIt’s a useful program that allows you to record .mov direct to your laptop. If it works in DV and not in HDV you have isolated your problem. It’s costly fix if the HDV firewire is faulty.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
You need to set the camera up and turn it on before you open FCP.
The DV and HDV firewire are separated on this camera, because it worked on DV does not confirm the HDV is okay.
Video tutorial connecting JVC to FCP and capturing as ProRes; https://www.steadi-onfilms.com.au/vlog/?p=61
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
3. I’m not certain if this is a PAL or NTSC. (I know that they usually shoot PAL – but am not sure if my Sony HDV1080i can play PAL (and it is playing the tape). It says “DVCAM 60i” on the camera monitor when I am playing this tape.
If it’s any help DVCAM 60i is NTSC. PAL is DVCAM 50i.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/