Rennie Klymyk
Forum Replies Created
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Sounds wierd. What was your original format you were editing? What is the size of the H.264 file?
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[Benjamin18] “If I buy the .55x from Century, just how much of a distortion loss will that be? If I’m used to the Vx 2100 with the .3x, how will the .55x plus the HVX compare to my old setup?”
Your original lens had an image circle of 180′ and a horizontal coverage of 125′ on a 4:3 format.
The Xtreme HD $3250.00 has an image circle of 180′ and a horizontal coverage of 160′ on a 16:9 format.
The 0HD-FESU-HVX super fisheye $595.00 image circle N/A and a horizontal coverage of 92′ on 16:9 format.
Your old set up was kind of in between the 2 listed here. If you are used to the 125′ of coverage you will be disappointed by the 92′ coverage which is typical of a good wide angle rectalinear lens (which is far more difficult to manufacture than a fisheye).
It’s too bad schnieder doesn’t fix an HVX200 on a tripod and do a w/a shot without anything and then one with the super fisheye and another with the Xtreme fisheye. The idiot who did their sample shots moved the camera in 6 or 7 feet and up about 2 feet between shots. That’s a real big help….duh.
One nice thing about the old 35mm and 16mm film cameras was you bought your lens arsenal and it lasted for years. With a fixed lens video camera you by these add ons which are dedicated so they only last as long as the technology behind the camera (as you experienced with your vx2100). Fortunately the HVX200 is a solid format that will be with us for a long while but investing in accessories like fisheye lenses that quickly become gimmicky if used too often, it’s hard too justify the cost of the better quality options.
If you need it for a shot in a feature film buy the expensive one, if you are posting clips on youtube get a cheapo, no one will know the difference.
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[Sophie876] ” It might be the exact same information, but when I do any sort of speed manipulation, the footage gets soft.”
That’s interesting, what does happen with capture now (with out using “create new clip at t/c break”) is you end up with one long source clip. On a long capture you could get some audio drift as well with dv but when you do a speed change (say 50%) the whole source clip is effected, not just the segment in the timeline. The next time you do a speed change, say 75% the source clip is effected again. Each subsiquent change is effecting your one long source clip. Even though these are computers I could see this softening the picture after a while after all how many times have you seen FCP has actually created a speed change of 76.045 instead of the 75% you specified? FCP is a non destructive editor but are there bits and bytes being compromised when making all these changes to such a long source clip? Dragging your segment from the time line to the bin and double clicking it to the canvas and then applying a speed change should aliviate the problem but then how many effects are we asking FCP to remember and play back regarding one source clip. That’s a lot of referencing all on one source clip. Capturing using “create new clip at t/c break” will keep the effect on just the small source clip you created but won’t correct your repeat time code issue.
Good monitoring Sophie! You can always trust your eyes and a good monitor.
I would follow Matt’s recomendation and dub to a new tape via firewire connection and get the original tape out of there. Then log and batch capture with your brand new t/c. -
Rent a killer projector. Place black out curtains along the sides of the screen and on top creating a window box to block side light from hitting the screen. This will narrow your viewing angle, you may need to arrange the seating along one side of the room away from the windows so your gobos won’t obstruct views.
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Check the AJA site for a suitable product, there was a recent post regarding this set up but I don’t recall the name of the AJA device.
Regarding monitors the Sony PVM-14 or 20 L5/1 is discontinued but if you can find one used it is the best price/performance HD monitor. JVC has some current offerings as does Ikegami and Barco and I’m sure there are others and the Sony BVM-D or A series but these get pricey. Panasonic BT-LH1700W is the best LCD. There are computer monitors a lot of folks are using too, as long as the native resolution is 1920×1080 capable you are off to a good start. Scouwer the past posts on monitors because several people have reported good results from these new computer monitors. NAB would be a good place to view various offerings of monitors all in one spot. Panasonic has announced a new HD field unit (LCD) with a lower cost. A good HD monitor will be in service a long time so it’s worth investing in a good one. When you use a cheap monitor and clients come back complaining that the picture is too green or too dark or there are no blacks you have tweek and re-do but when you have a proper broadcast monitor you simply tell them to go back and adjust their tv’s. If necessary you can show them how it looks on your broadcast monitor.
You may want to start a seperate post for the Mackie Onya 1220 Mixer on the soundtrack or other daw type forum for feedback on this mixer.
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[GaryAlan] ” (usually cslled shortcuts) sine they usually require two hands (taking one hand off the mouse), looking down at the keyboard, finding all three keys for the longcut and then looking back up to make sure it happened.”
You should have been paying closer attention to those girls, just watch one now, (no, I mean the way thay work the keyboard) they don’t look at the key board. After a year of typing 101 you memorize the keyboard. After continued sessions on fcp you will also memorize it. The only reason programmers gave us GUI’s that look like decks with jog, shuttle, forward, reverse ect is because 10 -15 years ago all us old timers who were migrating to computers and had never used them before had to relate somehow to the computer. Keyboards are way faster than a mouse once you memorize them so you no longer look at it.
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[rafalaos] “The only format that is really muxed is MPG2 video with MPG1-layer II audio. They can be muxed in a MPG file because both are MPG. When we use AC3, aiff or wav (not MPG), the files are packed toguether in program-stream, transport-streams or what ever, but there are not really muxed.”
I guess it’s a loose term and is more less slang for multiplexing. I’m not sure what you mean when you say “they are not really muxed” Multiplexing is a process of combining files or file types to share valuable space and there are many types used in the communications industry. Early dvd encoders and authoring apps only used mpeg-1 audio and created- (from my wired Muxer software cira 1998)
System stream – If selected, the final multiplexed file will be an MPEG1 System stream.
Program stream – If selected, the final multiplexed file will be an MPEG2 Program stream.Transport streams are much more broadly used and can also carry data. As technology evolves dvd specs are changing with the new innovations. By modern terms AC3, PCM and data and video files that are combined in a stream are referred to as muxed.
In the DSP manual (see pg 651) it is short for multiplexing and you can read their definition on the same page.
The terms muliplexing and muxing are found and used in all forms of digital broadcasting and industries requireing movement of different types of data though a shared pipeline. Several channels of sd programing are multiplexed with 1 HD channel for modern broadcasting.
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The nice thing about the piano is they haven’t updated the software for about 500 years. They’re still on version 1 I think. When’s the last time you saw a 5 year old piano in a dumpster? My friend just fished a 4 -5 year old i-mac out of a dumpster. Why not just charge your editing rate or a slight reduction for off hours or volume.
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Do you know we have a guy on these forums that actually uses 3 -30″ monitors! I saw one of his posts a while back.