Rennie Klymyk
Forum Replies Created
-
and what’s happened to the holographic solid state media? that looked like the real kicker.
“everything is broken”
-
Keep in mind there is an AVCHD consumer format that uses a GOP frame structure and the pro version used in the high end panasonic HD cameras. The latter being AVC-I HD where in each frame is an independant “intra” frame. This is the format that aparently gives you DVCPRO 100 quality at 50mbs and even better quality at full 100mbs. P2 cards just got bigger.
“everything is broken”
-
we should have some decent affordable blueray authoring solutions by then
“everything is broken”
-
[brian pitt] ” We really didn’t change the crop much, so when I cut from one take to the other, it appears that there is a very sudden jolt of the talents head maybe 2-3 inches to the side. There is usually some small change in the shot that makes it noticeable to the audience. “
FWIW this is reffered to as a “jump cut” in the industry. They have been the irk of many professionals over the years. I see some creative editors using them purposely back to back in close succession as a kind of creative “look”. I myself will never be able to accept them as creative though but it’s something you can try along with the other suggestions.
[brian pitt] ” I have done SO MANY interviews in the past few years, but I face the same challenge EVERY TIME!!!
“Next time try this: instruct the talent that you will be recording several takes and if they realize they make a mistake or fumble some words they must just keep on going until they reach the end. Record 2 or 3 takes or more of the whole thing BUT with different camera angles and framing, ie: head and shoulders; half shot with the hands in; side angle shot and give them something to look at so they look focused. If they constantly trip up at one particular spot record a few takes of just 2 or 3 lines including the problem spot until you have it.
You now have enough material to edit the interview rhythmically into a smooth flowing piece even without typical b roll type stuff like audience shots etc. (if you can get b-roll too, all the better).
Remember: anytime you edit 2 – head and shoulders shots of the same subject together you get a jump cut. Any time you edit 2 – 1/2 length shots of the same subject together you get a jump cut. Any time you edit 2 – full length shots of the same subject together you get a jump cut. and so on and so on…“everything is broken”
-
This unit doesn’t appear to have a bellows. It must be set for the wide setting and the HVX200 has a pretty wide angle of view so I would check to see if it would vignette on these cameras with a filter in the holder. What are you suposed to do when you are shooting in the telephoto range? Use their french flag to control light? I guess you could use matts of various sizes in the filter drawers (more stuff to buy) but there still is no adjustment for positioning graduated or soft effect filters which are all relative to the focal point and the aperture used.
The other issue is the plastic filter holders or frames. How much do they cost and how fast are they to load your filter into? A matte box that you can just drop filters into is nice as long as it holds the filters tightly and they don’t drop out if you rotate the holder. Some matte boxes use thumb screws to nudge up to the edge of the filter to hold it snugly but that can chip the edges of your filters and eventually ruin them. You have to decide if you like the filter frames with their added cost and extra loading time (if you don’t buy enough for all you common filters) or a straight drop in system with spring retainers or thumb screws. That’s a personal choice.
Dual bellows systems with the filter drawers in the middle are the best. The outer edge of the back bellows should extend far enough to almost vignette in the telephoto range of your lens. With today’s lenses you will likely need a matte on the end to achieve this. Thus it is acting as your lens hood. The front bellows controls the position of graduated filters for darkening a bright sky etc. and for the degree of softness from black nets etc. under various lighting conditions. (that dreamy Charlie’s Angles look) It should butt up to the lens snuggly some how.
Sorry to be so long winded, the one you are looking at will be fine for a polarizer and the fld you mentioned but it is a real basic unit otherwise.
“everything is broken”
-
There’s nothing like a big screen to demonstrate a cheap tripod!
“everything is broken”
-
The sony bvm-d14h5u is just borderline in your price range. You can put it in a road case for location but it is only ac voltage.
“everything is broken”
-
Don’t confuse circular and lenear filters with the shape – circular or sqaure. A circular polarizing filter can be round and thread on the front of the lens or square to drop in a matte box. Circular polarizers have a second element that is a light baffle that re-scatters the light after polarization. This allows beam splitters used for exposure metering and auto focus to function properly. Most importantly is metering. The polarizing effect will change as you move the camera off axis from your light source.
We’re shooting HD here. The weakest point of the HVX200 is probably the ccd’s. The lens is adaquate to the quality of the ccd’s and the dsp so don’t make your polarizing filter the weakest part of the equation. Some of the brands listed in my 1st post are companies who have been making glass for over a century and they are good. Look at what the lenses for the HPX500 cost and consider a $150.00 polarizing filter on an HVX200 a bargain. Think of them as investments. I’ve had B&W and Nikon polarizers for 20 years and looking back I’m glad I bought the best at the time because over 20 years the extra cost is not such a biggie. This is why Noah’s recomendation of a good matte box and drop in filters is so good. This way your optical accessories are like your audio gear, seperate from the camera and you can take them with you. You’ll need a matte box with rotating filter drawers to use the square polarizing filters if you go that route.
“everything is broken”
-
Heliopan, B&W, Canon, Nikon, Tiffen, all make good glass.
“everything is broken”
-
Don’t know if you have solved this yet but a lot of sony decks will play back dvcpro (panasonic) format and vice-versa but usually you have to set something in the menu before the deck will do it. dv is a 10micron track pitch while dvcam is 15 and dvcpro is 18. I’m not familliar with your deck but often there is a menu setting for the format change to dvcpro.
“everything is broken”