[Rob Manning]

Hi Alex,

As Steve aptly pointed out, setting an HD capable DSLR to auto, is not a good choice. There are other issues complicating auto mode and if you decide to dive into this further, perhaps getting the book by regulars here on CC, called From Still to Motion, would help long term.

I would say, borrow instead an HD Camcorder, and save yourself from the learning curve.

Rob Manning

[Rob Manning]

Hey Danny,

A few years back, constructing a bid I recall a nominal day rate for budget projects being $500, half or full day per operator.

That being said, these days working with non profits, the whole project might be bid for that amount.

Could be dated info or not.

RM

[Rob Manning]

Thanks Steve.

Cloud cover over the east Santa Monica Bay, hoping the moon shines through.

Rob Manning

[Rob Manning]

Using AF with a Nikon in live view, gives the camera controls over to contrast detection, which as the subject moves, or lighting shifts will cause the lens to rack back and forth.

The difference between phase detection (DV cams) and contrast auto detection on HD enables DSLRs, is perhaps not something the director was aware of.

One (best practice) should never use auto when shooting video with a Nikon, or Canon generally.

The lens also, does not have a fixed aperture f/3.5-4.5, which causes issues with exposure during record when the lens is racked, or if someone with a dark or light shirt walks through the frame. A nightmare to fix in post BTW.

I shoot my Nikon video with manual, setting the focus in live view then switching from AF on the lens to M to lock the shot.

One can also set the AF button to lock on camera.

If one has the latitude to use f/8, and exposures do not suffer, then the shoot should be adequate if on a tripod with minimal pan and tilt.

If hand held, even more so.

Some DP’s shoot at f/5.6 and get good results but I have footage where we are shooting wide open, so that will vary.

Imagine shooting everything with this type of technique and assuming a still or graphic will be inserted to cover the changes when you do refocus or, shoot two DSLR cameras so you can jump cut.

In this case of course, it seems to be too late.

HTHs

Rob Manning

[Rob Manning]

Hi Erin,

How is the client displaying this content?

Online, in a point of sale loop, broadcast on cable, You Tube, Vimeo?

There are presets for export which you can adjust for bit rate to customize.

Ann would have a good idea should you let us know.

Thanks,

Rob

[Rob Manning]

Hi Rachel,

This body does not record uncompressed through the HDMI port to a Ninja etc.(less compressed but sub sampling luma and chroma, 4.2.2) as I recall, but I might be wrong.

Meaning the data stream will be in a .mov wrapper, H.264/MPEG-4 Advanced Video Coding.

Also, it is a 1.5 DX crop format so the 70-200 becomes a 106.5-300 but the fixed f/2.8 aperture is a plus.

The broadcast specifications for PBS are likely listed on their site and your final edit will need to go through a rendering and that re-compresses (Sorenson Squeeze etc.).

One way to approach the footage is to convert it into ProRes if on a MAC, or for both PC and MAC, convert it into AVID DNxHD, or GoPro’s CineForm codec.

The D3200 is a tool if used with limitations in mind, off camera audio, set lighting, and too many other conditional nuances to mention here.

If you are already a film maker great, otherwise check out the book From Still to Motion, a hands on guidebook for the craft authored by four of the Creative Cow luminaries.

HTHs

Rob Manning

[Rob Manning]

OK Howard, got it.

Nice, looks similar to the Genus version no longer there, with hinge.

I once sourced gaffers matte black tape for adding to our product line.

It became a great seller because of the price point (imported) for musicians and DJs who have no money, versus shiny black duct tape that reflects on camera sets, was cost effective for dealers who shied away from Pro Gaff etc. because of cost.

In sourcing it the main issue was longevity once placed and yes, of course, humidity.

The key is rubber based adhesive so the sticky didn’t stay behind.

Outside of that, there must be sheet double sided stuff from 3M or others which is designed for marine or high heat automotive environments.

I put the Genus onto the plastic snap covers I buy for my Nikons, saves having to tape the viewing surface directly which is why I suggested those Canon versions.

Yes, marine or industrial supply adhesive sources might help.

You could always contact Mole Richardson in Hollywood, they might have run into a similar request for adhesive backing over time.

LMK

Rob

[Rob Manning]

HI,

Try one of these: https://www.amazon.com/s/?ie=UTF8&keywords=5d+mark+2+screen+protector&tag=googhydr-20&index=aps&hvadid=6760495581&hvpos=1t1&hvexid=&hvnetw=g&hvrand=12838060351587924450&hvpone=&hvptwo=&hvqmt=b&hvdev=c&ref=pd_sl_7u5y4pi1lr_b

Then mount the thing with double sided tape, industrial strength.

Genustech (I have one) made a loupe but I do not see it listed any longer that uses a rim with adhesive.

Rob Manning

[Rob Manning]

Steve’s spot on.

Buy this as well: https://www.amazon.com/From-Still-Motion-photographers-creating/dp/0321702115

RM

[Rob Manning]

Another nuanced take on HD enabled DSLR’s, versus say the BMD box.

https://www.redsharknews.com/technology/item/1741-should-we-be-using-low-contrast-camera-modes-to-make-our-video-look-like-film?utm_source=https://www.lwks.com+subscribers&utm_campaign=8337cea56f-RSN_June06_2014&utm_medium=email&utm_term=0_079aaa3026-8337cea56f-74684965

Interesting read.

RM