[Richard Van den boogaard]

Visit https://www.hurlbutvisuals.com/, although he may not be as willing to reply (A.S.C. member and all) as Philip Bloom or Vincent Laforet are.

Richard van den Boogaard
cameraman / editor / video marketing consultant

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[Richard Van den boogaard]

Likewise for me, since I have been an Adobe adept ever since they bought Cool Edit Pro (I have a background in audio after expanding into video).

Perhaps you can download the trial of Production Premium (please don’t install the individual products) and give it a go for 30 days. I think your workflow and experience will not differ that much from FCP…

Ok, enough with the promotalk, already… hope some others can help. Have you done a search on Philip Blooms site? Or consider dropping Shane Hurlbut a mail…

Richard van den Boogaard
cameraman / editor / video marketing consultant

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[Richard Van den boogaard]

I believe it’s the Canon 7D, not D7. Nikon sells cameras like the D3… 😉

Anyway, like many other editors these days, you might consider a switch to CS5 – gives you the benefit of having tight integration (AE, PS, AI) and 64-bit coupled with the Mercury Playback Engine, which works like a charm for DSLR footage…

Richard van den Boogaard
cameraman / editor / video marketing consultant

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[Richard Van den boogaard]

D7? What camera is that? Probably you’re in Nikon-land…

Anyway, perhaps you can consider giving Adobe OnLocation a try. It lets you add metadata to the footage which will be read out in PPro or AE, while also perform rough cuts of the footage.

See this recent episode of Adobe TV: https://tv.adobe.com/watch/short-and-suite/creating-a-rough-cut-with-onlocation/

Richard van den Boogaard
cameraman / editor / video marketing consultant

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[Richard Van den boogaard]

Since DSLRs are mostly about shallow DoF, controlling exposure at wide open apertures under most light circumstances can only be achieved with these filters, which are basically two rotating circular polarisation filters combined.

I did buy a mattbox and a set of glass filters, but truth be told, I have not really used them. It is just not practical to carry around with you, whereas a VariND or FaderND filter is easy to carry with you and fast to switch when running and gunning.

I have both a Singh-Ray VariND 77mm and LightCraft Fader ND 72mm and 82mm. Singh-Ray is indeed a lot more expensive, but in the end, I think they are well worth it. Since my favourite lenses are all 77mm threads, I continue to reach for the Singh-Ray, time and again.

The build-quality seems to be better and the filter seems to be somewhat smoother. Hold up the Fader NDs at a 30% angle and you’ll see ‘teardrops’, which the Singh-Rays do not.

However, I wish the Singh Rays would be more readily available – afaik you can only order them on their website and get charged ridiculous import and tax levies.

Richard van den Boogaard
cameraman / editor / video marketing consultant

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[Richard Van den boogaard]

Hi Chuck,

Please check beforehand if your D90 records in 44.1 kHz or 48 kHz and then choose the same setting for recording on your Zoom H4N.

I use Canons, so for me it’s all 48 kHz.

Richard van den Boogaard
cameraman / editor / video marketing consultant

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[Richard Van den boogaard]

I had a similar experience, although I had to wait for the beta version of PluralEyes for PPro since I don’t use FCP.

However, even with the beta I found the whole procedure a pain since you had to export an XML from PPro, import in Plural Eyes, let it run and then re-export & re-import. Anyway, it seemed to take forever and I gave up quickly and started staring at those waveforms again to sync them up manually. Whenever you’re stressed with a project that you need lots of audio synced up with, you don’t want to go through such hassle.

Apparently, Adobe has audio synchronisation on their to-do list (according to Jason Levine), so I guess I’ll wait for that.

Unless someone on this forum can convince me otherwise and then I’ll give PluralEyes another go.

Richard van den Boogaard
cameraman / editor / video marketing consultant

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[Richard Van den boogaard]

Hi Jared,

There are a couple of reasons why you should consider buying multiple camera bodies:
– It allows for double angles while shooting (kinda busy to handle, but doable)
– 7D has 1.6 crop factor, effectively extending reach with existing glass (e.g. 70-200 becomes sth like a 100-300).
– 7D has 50/60 fps: always nice to include a couple of slo-mo shots
– If one of the bodies breaks, you won’t be without
– Buying two Canon bodies makes you eligible for Canons CPS (Canon Professional Services) program, which gives you priority support with repairs.

As stated here above, camera bodies are cheap; but shooting with DSLRs is not, considering all the extra stuff you need. Nonetheless, no other video cameras can beat their image quality and versatility.

Good luck.

Richard

Richard van den Boogaard
cameraman / editor / video marketing consultant

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[Richard Van den boogaard]

Is the button on the lens switched to manual mode as well? That’s the first thing I can think of, otherwise it must be some menu setting…

Richard van den Boogaard
cameraman / editor / video marketing consultant

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[Richard Van den boogaard]

I believe there is no direct countdown feature for remaining video minutes on the 5D. However, on the top you see sth like 999 which is used to indicate card space for remaining photos (remember? it’s a stills camera… hahaha). If you have a big enough card (e.g. 32GB) that number will not go down for a long time. But when it reaches, say, 400, it’s best to start thinking of switching cards.

How fast your memory gets eaten away also depends on what you’re recording. If it contains lots of movement (either camera or subject) you can record shorter than a talking head on a fixed background. Recording only goes up until 4GB for a single take. The maximum length of one take can therefore vary between, say 10 and 15 minutes, depending on the motion.

Whenever I am recording takes of this length (e.g. presentations), I start to think about finding a quick pause (edit point) around 10-12 mins. You DO run the risk of getting an overheated processor if you record for such long periods, although I never had it – yet.

(knocking on wood now)

😉

Richard van den Boogaard
cameraman / editor / video marketing consultant

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