Phil Balsdon
Forum Replies Created
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Putting the camera in full manual mode doesn’t deselect auto iris mode, you need to this seperately.
Pages 25 and 33 in the user manual explain the process.
If you don’t have the user manual you can download it here;
https://pro.jvc.com/prof/attributes/inst_man.jsp?model_id=MDL101845&feature_id=11
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Split screen effect.
You’ll need to get it back to a JVC service agent.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
If you have FCP6 or FCP7 capture as ProRes. This eliminates a lot of problems people had with timecode breaks etc with this series of cameras. Whilst it creates larger file sizes it also gives a much better editing experience.
Here’s how to do it. https://www.steadi-onfilms.com.au/vlog/?p=61
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Have you tried importing the footage as ProRes?
This solved many problems with breaks during takes and lost frames at beginning and end of takes (importing from camera).
https://www.steadi-onfilms.com.au/vlog/?p=61
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Thankyou, thankyou.
As always the production values on this program are superb. Looks like a program with a style guide that the crew are encouraged to be experimental / creative with. I’d love to work on a production with this ethic (and budget).
Also goes to show the value of Formula 1 motorsport in engineering development, what a shame Toyota have quit the sport. But as Hammond says at the end of the day it doesn’t have the same prestige as having an Italian or British sports car in your garage.
Did the Stig put it around the Top Gear track?
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Yep that’s a Sony function at this level. And when you’ve manually turned off the gain make sure the auto shutter doesn’t come into play and the auto white balance tracking too.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Actually I think this is a great and very appropriate post, a good example of someone who is planning and investigating the best path before they start. Forums are full of posts from people who haven’t done what you are doing now, organised themselves beforehand and then got themselves into a serious mess.
Editing in DV is the lowest quality format and will result in poor quality effects (chroma key etc.) if plan to do anything more than just simple cutting. Also it will not handle fine detail on graphics or credits etc. Up converting SD to HDV means it will have have to be down converted again before going to DVD, not good as it a double conversion that will result in loss of more quality.
I’d consider bringing it all in and cutting as an Apple ProRes PAL format. This is virtually lossless and will preserve the poor quality of DV and HDV compression and HDV down converted to this format should be fine.
However I see one more possible problem in your material, you say you have some Quicktime 29.97/H.264 footage, this is not PAL, 29.97 is an NTSC frame rate. All PAL footage is 25fps except for some 50fps progressive scan HD. This is an uglier problem than the SD / HDV problem you already have, especially if you want to output PAL. NTSC to PAL conversion is not good, although there are some good plug ins for FCP that will do it (Nattress for instance). PAL has more resolution (scan lines) than NTSC hence the conversion NTSC to PAL is more compromised than PAL to NTSC. It may also be why most DVD players in PAL land have the ability to play NTSC material but NTSC machines rarely if ever have the ability to play PAL.
Can I suggest you get a small amount of every type of footage you will use and do a trial cut and conversion to DVD to see what turns out best.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
The beginning of this video shows the correct procedure for settings on the camera an the sequence order you should follow to the camera to connect to a computer successfully. https://www.steadi-onfilms.com.au/vlog/?p=61
The video is actually for a Mac and Final Cut but this part of the video still applies.
It is important not to “hot plug” the Firewire cable on these cameras, this can cause damage to the camera that is an expensive repair.
Try a different Firewire cable or try the Firewire cable on a different device to eliminate the possibility the cable is the problem.
The camera uses a different circuit on the Firewire board for HDV and DV. If the Firewire cable checks out OK try recording some footage in the alternative format and reconnecting the camera with the settings for exporting that format set in the camera before connecting it to a computer. If the computer can then see the camera it is probable you have a blown firewire circuit in the camera.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
Sadly BBC’s iPlayer is only available to people in the UK, so this link won’t work.
I was looking forward to seeing it because I’m a big Top Gear fan (of both content and production values)
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/ -
This won’t get rid of it completely but will help.
Send the shot to Color. In the secondaries room create a “user shape” vignette around the reflection. Adjust the color away from blue to a warmer tone and darken it. Adjust the edge softness of the vignette to suit.If the shot is moving you may need to set up a tracker for the vignette, that’s a little bit more complicated.
Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://www.steadi-onfilms.com.au/