Richard Herd
Forum Replies Created
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Sorry to get pedantic, but…just to be absolutely clear. The AG-HVX200 is not actually native 16:9. It is native 4:3 with a pixel aspect ratio of 1.33. The actual frame size is 960×720 (960/720=1.33 aspect ratio) and the pixel aspect ratio is also 1.33, so 1.33*1.33=~1.77 (16:9). This matters when making comps in other software, like After Effects or using Photoshop to make titles or Illustrator to make graphics.
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Have you confirmed there’s media in the folder?
I’ve had this happen when there is very little media in the folder, probably because I hit the record on-off button too fast.
See if there’s video in there and -I to see the file size.
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[Dennis Size] “I bought a few boxes of simple aluminum foil and adhered it to the ceiling and walls.”
When you say that I envision a tin room. What percent of the walls were covered by aluminum foil, 100%, 50%?
Thanks!
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This was a good quote, too. It’s long but worth it.
Since the dawn of the digital revolution, the cinematographer’s mantra has been “protect your highlights,” because it’s a well-known axiom that digital imagery has the inverse characteristic curve of film, with a soft, sloping toe and a short shoulder. Once a highlight clips past 100 IRE, no detail can be recovered from that highlight ever again. Another axiom about digital is that it “sees deeper into the shadows.” On 21, Carpenter found these “truths” required modification. “I found the Genesis to be very, very good with highlights, but I also found I needed to protect my shadows more,” he says. “If you go with the popular wisdom and shoot for the highlights and then try to raise up the shadow detail in post, you might be surprised. Sure, there are details down there, but they won’t ‘come up’ in the subtle way we’re used to seeing on a film negative. When analyzing my frame in the raw mode on set, I definitely saw detail down in the ‘toe,’ but the one time I wanted to bring that ‘toe’ up in the digital timing, the information clumped up and didn’t rise in a subtle way. In the future, I might open up a third of a stop.
“I’ve heard that other digital cameras react to highlights and shadows the way everyone says they do, but I found the Genesis reacted more like a film stock than a digital CCD,” he adds. “I ended up using the Genesis the way I would [Kodak Vision2 500T] 5218 or something similar.”
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The quick answer is yes. But there’s some details that need clarifying. For example, I use extron scalers Model DVS 304. When you say 4:3 and 16:9, there are a variety of actual frame sizes and cycle rates to choose from depending on the exact specs of each piece of hardware, for example 1024 x 768 @ 60 Hz. The frame size and cycle rate are separate “knobs” you can adjust for both “input” and “output” signals. Moreover, this particular scaler resides on a network via TCP/IP and you can manipulate it remotely.
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The XL H1 is HDV, unless the signal is captured HD-SDI.
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Zaxwerks.
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Really hard to design it without seeing it. Perhaps bouncing light off the window is the way to go. I drew a quick sketch if you email me I’ll send it to you. It’s a place to start anyway. richardmherd@yahoo.com
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An equation would be nice.