Rennie Klymyk
Forum Replies Created
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If there is still a warranty on it I’d get the paperwork ready. Apple’s warranty is a sliding scale based on the age of the monitor. I made the mistake of living with 11 (mainly red) dead pixels until my warranty was almost up and then reporting it. I kept getting old repaired ones as replacements that were all defective and after being without the monitor for about a month I settled for the 3rd one they gave me which had 11 dead pixels however they were mostly blue.
If you still have apple care the sooner you report it the better.
“everything is broken” ……1st. coined by Esther Philips I believe.
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I remember participating in a thread in the fcp forum a while back on this. What I found out and quoted from the apple site is the matte screen starts off as a glossy but it gets a matte coating. To me this spells d-i-f-f-u-s-i-o-n.
Glossy will reflect more but flat screens control reflections pretty well. All the crt screens we’ve used for the past 1/2 century have been glossy and once they radiate a picture the reflections mostly disappear unless they are of a light source.
I don’t own a glossy or matte laptop myself (santa, are you listening?) so I have only hypothetical ramblings to offer and no real world experience.
“everything is broken” ……1st. coined by Esther Philips I believe.
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Look under audio professionals forum
Basically you should match the voltages through an impedance transformer. I don’t know why the one at the music store didn’t work because that is what they do. Pro sound is Low-Z 600 ohm balanced audio which is the lowest power. Hi-Z is what your unbalanced mike is and it is really mid-level voltage and should interface with your pre-amp. Line level is hi-level voltage that is used in mixers, vcr’s etc.
Attempting to link an unbalanced mic to the HVX200 is sinful. Get a balanced wired mic with an XLR end and save some headaches. Everyone should own 2 of these in their audio kit. Check these out at B&H
https://www.bhphotovideo.com/c/shop/8535/Microphones_Lavalier.html
Buy any one of these used on ebay. Sony for example ECM44B is a good starting point. Sony mics go up in quality to ECM55B; ECM66B; ECM77B; ECM88B. You should be able to find an ECM44B for $50.00 on ebay. Guys (like yourself in 3 years) will be dumping ECM44B’s to buy better quality replacements but for now they will be far better than your current set-up.
“everything is broken” ……1st. coined by Esther Philips I believe.
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B&W (Schneider) make special thin filters for wide angle lenses so they don’t vignette. The actual steel ring is thinner so it doesn’t stick out in front of the lens obstructing the angle of view. This could also be a factor with your lens and is always the best choice with any wide angle lens filter.
“everything is broken” ……1st. coined by Esther Philips I believe.
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I’m not familiar with this deck and I did a quick google on it and there isn’t much available. Anyway you need a deck that records DVCAM.
Once in the digital domain of your edit system DV and DVCAM are the same thing as is DVCPRO25. It is the decks and the way they record the signal to tape that make the difference. Each diagonal swipe of the heads across the tape creates a pattern on the tape. There is more overlap of the heel and toe of each of these swipes on DVCAM than DV due to the 15micron track pitch instead of 10 microns of DV. DVCPRO 25 has an 18 micron track pitch. There is also a longer pattern as a result of the 33% increase of tape speed from DV to DVCAM. This greater overlap of the swipes allows for a more solid tracking of the signal in tape based equipment. Although digital, it is still magnetically recorded linearly on fine particles afixed to a tape base. Weaknesses in the physical tape particles can cause poor tracking of the signals which can be overcome with the added overlap from DVCAM and DVCPRO formats.
You just have to record your DV project to tape using a DVCAM recorder.
“everything is broken” ……1st. coined by Esther Philips I believe.
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[David McGiffert] “Walter
This is one of the smartest advisories I’ve seen in a long
time. Should be read by lots of us.
“Here here, couldn’t agree more. This is a great post Walter.
…..Isn’t Crash a movie?
“everything is broken” ……1st. coined by Esther Philips I believe.
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I thought I had this problem when I 1st got the camera but then I discovered my hand was resting on the other rocker. Does this happen when you are not even touching the camera? Do you have the remote jammed into your pocket with something against it’s zoom button?
“everything is broken” ……1st. coined by Esther Philips I believe.
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[Mike Healey] “So, my question for now is, how will the HVX-200 stand up shooting DV on tape compared to my 2/3” DVCPro rig? “
Most of us bought the camera for HD and haven’t shot dv tape with it. I’ve shot about 20 minutes on Dv tape and it is comparable to the dvx or any of the current 3 chip dv camcorders. Your current rig will likely have some advantages in the zoom range of the lens and low light with the 2/3 chip set. The HVX200 is heavy for a camcorder and there is a bit of a transition getting used to handling the camera as opposed to your 610.
If you purchase a new HVX200 it will come with a 16GB P2 card. That will hold 64 minutes of DVCPRO/DV footage or 32 Minutes of DVCPRO 50. If you spring for a 32GB card that will give you another 64 minutes of DVCPRO 50 recording. Switching your workflow to DVCPRO 50 will be the biggest advantage in picture quality. All effects, graphics and the full edit can be done in 4:2:2 then dumped to SP Beta without any other expense.
To take it a step further you can record in HD and down-convert to SD after the edit. That way if you get reusable footage it will be future proof for your client’s HD projects down the road.
IMHO there is no distinct advantage in shooting DV over what you have now however for the money there is no better transitional camera than the HVX200 to get you from where you are now over to 4:2:2 SD color space and onto HD. Considering what an AJ-D610 cost new, cost wise it’s a no brainer.
“everything is broken” ……1st. coined by Esther Philips I believe.
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Check your settings, make sure no other firewire wire devices are plugged into the same bus. You may need to download new drivers.
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[Tim Pipher] “Would you get three identical zoom lenses so everything matches up perfectly, or mix and match lenses from the same series? “
I would get 3 different lenses even 1 wide and 2 long if I had the cash but 1 wide, 1 long and one econo in the middle would fine.
If you walk around the studio with a color meter you will find some fluctuation in color temp anyway. One wall is a different color, one light filament is burning a little hotter etc. One camera is aimed South, one SE, one SW, the different directions of view will yield differences in color temp. One is wide one is medium and one is zoomed in tight, even with identical lenses there are different areas of illumination being viewed from different angles with different back grounds. These differences can be adjusted with ccu’s or in post. It’s best to get the best shots possible by having those different lenses.
[Tim Pipher] “Finally, if you believe all three lenses should be the same in a multicamera studio set-up, which of the three would you pick as a jack-of-all trades lens, good for in the studio and out? “
Wide lenses are indispensable for interiors and pr releases where you have to be at the front of the pack and still see it all. Otherwise 5 other guys will be in front of you. They do so much more on the creative side. Long lenses allow you to isolate the subject and eliminate vast expanses of background or focus on one person instead of 3.
You could set up the cams prior to live switching using a color chart if time allows.
Macbeth or DSCLABS are some good sources.