[Phil Balsdon]

Hi Peter,
We all need to keep in mind DSLRs are primarily still photography cameras that have a video feature added at the request of press organisations so their still shooters could record a bit of video for their online news outlets. For this reason I’ve always excused the compromises I’ve had to make to shoot the great video pics you get from these cameras, especially with the double system audio.

For general sit down interviews, when you can use a tripod, attaching a digital recorder to camera hot shoe (or some other kind of bracket) it is not to bigger deal, just roll audio first then the camera. Yes pre the Canon 5D Mk3 Canon DSLRs were limiter to about 12mins record time per file, the 5D Mk3 will create files without a drop frame of up to 29mins and 59 seconds. For cameras with a short 12 minute record time all you need to do is leave the audio run and quickly button off the camera and then on again during a question, you can add B roll to cover the edit if necessary and PluralEyes will still sync the audio and video files.

For run and gun I use a monopod which helps support the extra Zoom, radio mike receiver, etc etc. Using a stabilised lens such as the Canon 24-105L also helps, but it is f4 and a stop slower than other Canon L series zooms.

Once you get used to the workflow (it’s very similar to shooting film) it’s worth the extra effort to get the better audio and the video style from the large format CMOS chip cameras, it just requires a little more patience, effort and time in post to sync the audio. All that said I make my living primarily from shooting video and now shoot with a Canon C300 that overcomes all these workflow compromises.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

This is a green screen c/k test I did for my Canon C300 on difficult hair using DV Matte Pro and then a trial version of Primatte.

https://www.steadi-onfilms.com.au/vlog/canon-eos-c300-green-screen-codec-test/.

I’ve since achieved comparable results using Keylight in After Effects.

The Primatte results were slightly better and easier to achieve.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

You can get short “coiled cables” that will stretch out to required length but not dangle around loosely.
Like this; https://www.beachtek.com/products/accessories/rc35/

Use a good quality “shock mount” for your mic.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

Sounds like audio quality is of prime importance to you, in which case you should record audio as double system on an external device. The pre-amps on DSLRs are not perfect tending to leave a bit of background hiss.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

I had the same problems you describe, audio and no video, until I installed the 9.5.2 drivers, after that it worked.

That’s probably not much help though I’m afraid.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

There’s a pretty good deal with Adobe Creative Cloud for Master Collection CS6 at the moment, especially if you have an Adobe Suite already, around $30 p.mth for first 12 months depending on where in the world you are located. You get all upgrades as they are released so software is always up to date.

If I was cynical I’d think Apple was deliberately driving the pro users away. I had to do 6 system rebuilds in the last year due to Quicktime issues. My partner teaches broadcast and media journalism at Australia’s top university, they’re having to abandon FCP due to growing number of students and it’s availability. All future generations will learn on a different program. Those that don’t go to film school will want to copy Hollywood and they won’t be using FCP eX. I really don’t think they’ve considered the marketing consequences very carefully.

So far I’m okay with Premier, only had it a couple of weeks, learning new way of doing FCP things, some things aren’t so good but others are better and Adobe are listening and trying.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

Why use Pavtube, it’s designed to rip Blue Ray discs? What is it transcoding the H264 5D files to?

Why not use the Canon plug in specifically for FCP that is designed to Log and Transfer Canon HDSLR footage as the ProRes file type of your choice, retain Timecode info from the camera data and it’s free.

I doubt Lion and the 5D Mk111 are solely to blame.

Premier will bring the 5D files in natively and mix them with other codec formats quite happily. Only have one client left that hasn’t made the transition from FCP to Premier or AVID and I’m making the same move myself.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

Yes Stephanie it will, but as an emergency back up it can be used. Also that hiss is less evident in noisy uncontrolled environments so you can get away with it in certain circumstances and because it’s a constant it can be EQ’d out in audio post if necessary.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

The Canon 17-85 is not an f2.8 it’s f4-f5.6. This is a problem for video because your exposure will change throughout the zoom range when wide open.

The L series 24-105 has an image stabiliser but is only f4. The IS feature is useful if you need to do a lot of shooting off the tripod. This focal length range is enough to cover the “portrait” end for interviews and still give you an adequate wide angle. This is the standard lens I leave on my camera in case I have to grab a quick unexpected shot.

Unsure why the 24-70 you tried looked soft, it’s normally a highly regarded lens. Was it the older first version? A second improved version was released and now they’re going into a Series II version which is quite a bit more expensive.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/

[Phil Balsdon]

Having both the H4n or a similar external recorder and a pre-amp with AGC gives you the option of not having to use the external recorder and still get usable audio (although not quite as good). This might be when the pace of a shoot is so hectic it becomes difficult to remain organised and keep up, particularly when working solo.

It also means that if you loop your master audio out of the H4n to the camera (you should use a padded cable to do this to convert line level to mic level) you will have a usable back up audio track on the camera in the event of a problem.

I’ve had both these situations happen, (it’s not a case of if it will but when it will happen). The last thing you want is to go back to the client without coverage or an unfixable problem, it’s financially likely to be a bigger expense than not having all the kit in the first place.

I also use PluralEyes in post.

Cinematographer, Steadicam Operator, Final Cut Pro Post Production.
https://philming.com.au
https://www.steadi-onfilms.com.au/