[Rob Manning]

Hi Adrian, the dynamic range of these two devices does not match as you noted.

The best way, on set, shoot in show lights, studio lights or if outside, in real time, a clip(s) from each camera.

Then take the video to the NLE and check the scopes for differences and use the Kelvin scale to move color where you get a closer match.

This is where set engineers who might never operate a camera are using color bars, monitor calibration and scopes etc. to get evenness from the devices.

Another way, if you have an iJOBS device or Android, then load the apps for filming which can include a color meter for Kelvin. Sekonic makes a color meter but it costs a few grand.

Lastly, one can download picture profiles like Flatt for both devices but all of this needs to be staged well before the slate goes live.

Others may have different opinions of course but we shot a concert, 2 D7Ks, two different Canons and yes, Canon’s color space was a lot ‘warmer’ even though we tried to look at our on camera monitors pre show to match.

This was addressed at great difficulty in post and we should have made the house and stage crew allow us to test shoot and scope before the show lights to be at least ‘close’.

Lesson learned.

Rob Manning

[Rob Manning]

Hi Seth,

From their site: Video: MOV (Image data: H.264, Audio: Linear PCM.)

From Adobe PDF: https://www.adobe.com/content/dam/Adobe/en/products/premiere/cs6/pdfs/compatibility-list-cs6-only-capture-edit.pdf

The files are wrapped (contained in) the h.264 Codec, but are .mov files.

In older versions, when firepower was at a premium (ram) h.264 taxed the resources but by CS6, as long there is a multicore CPU and stand alone GPU, the files should be fine natively, although a source drive is best practice (not just the OS drive in other words).

You have a choice of all I frames, or IPB capture as well.

Should be fine then.

One can always transcode to CineForm, ProRes or DNxHD which might play back more smoothly if there is an issue and the system is old, but this will increase the file sizes dramatically.

If I’m wrong, someone will let us know.

HTHs

Rob Manning

[Rob Manning]

Have fun.

RM

[Rob Manning]

Hi,

I may have reversed the phase and contrast detection aspects BTW, grabbed a comment by someone who had it backwards but the LV is contrast detection.

The histogram, simply shows if you are tending to crush blacks or blow out highlights, easy enough to see and the Flatt picture profiles will lessen (open up) shadows.

That is a decent zoom however, if you rack it, because it is not fixed at aperture (an f/2.8 versus f/3.5-5.6) then exposure will be affected lightened or darkened, so choose a focal length to be static.

Otherwise sure and you can rent a lens near term.

The crop factor 35mm equates to 52mm, the 50mm to a 75mm so perhaps the 18mm on zoom, at 27mm equivalent is the best choice especially as the exteriors will be daylight no doubt.

ISO at 100 is fine of course, but with this body you can push shots well into the ISO range if need be, 800, 1600 are not uncommon when balancing with the histogram approach.

You may consider an ND Grad depending on how bright the sun is for shallow DOF but most landscape takes do well at F8 (usually) and the exposure can be mitigated well enough without a grad.

HTHs,

Rob

[Rob Manning]

Hello Gary,

I’ve used/use the D7000 successfully as a video device, weddings, NPOs, venues, trade shows so as with most HD enabled DSLRs, there are common work arounds TBS.

In the D7000 one should set the (Movie settings) to manual ON. This will eliminate the capture being affected by movement or changes in lighting which will darken or lighten the exposure while recording otherwise (phase detection is used in live view, contrast detection through the view finder) and are an awful PITA to fix after the fact.

Note that exposure, proper lighting, dual source audio and so on come into play and Rich Harrington’s book (with his co authors) From Still to Motion is among the best guidebooks around covering the entire gamut regarding the genre. https://www.amazon.com/From-Still-Motion-photographers-creating/dp/0321702115

As far as noise, the D7000 as with every HDslr captures at around 2MP, so in post if shot correctly, moderate or none with noise removal Noise Ninja, Red Giant etc.

Metering off camera a good idea, test drive clips in Adobe or other NLE scopes before the downbeat, ask for house lights off and shoot in set lighting as well.

Since the D7000 does not have live view histogram, shoot a still and check for exposure. The histogram is THE last word while or when things are in flux, DPs will tell you that, if one has to fly blind.

If you use iJOBS or Google hand held devices, you can download everything from a color meter to a slate.

Shoot neutral, and try a profile setting here: https://wetpixel.com/forums/index.php?showtopic=48733

Currently we have 2-D7Ks and 1-D800 with moderately successful products as a result.

What lens choices do you have? Do you have a second body to rent for angle, lens and cut away interest, lighting changes, and so on?

Is the shoot scripted so you have short takes, re takes or are you running at the full 20 minutes? If full length, can they break for a few seconds while you reset record?

Stills, are they part and parcel or do you expect to extract frame grabs from the timeline?

LMK, thanks,

Rob Manning

[Rob Manning]

Steve , Happy New Year.

The thread question I pasted in over on Nikonians was answered by Perrone Ford, a videographer/photographer who has frequented technical threads for years and is a camera operator generally.

Here: https://www.nikonians.org/forums/dcboard.php?az=show_topic&forum=402&topic_id=2358&mesg_id=2358&page=

HTHs,

Rob

[Rob Manning]

I’ll give it a go, thanks!

[Rob Manning]

Arf…

[Rob Manning]

Jeff Thanks.

I do not use the green line render, always leave the file red or yellow for export.

In that instance then, is checking the use preview box serving any usable function outside of the denoiser or other time constrained renders that may be present?

I had a multilayer concert render last year which took over 24 hours (yes, send me that free you are the lucky winner Xeon PC when you have time 😉

So it seems that setting, merely complicates the process then?

I garnered checking that box from one of the luminary books by (names omitted) and may simply have misread the context.

Now that I have your attention, a quick OT question if you will bear with me.

How do I build a crop from the center point of a motion clip outward to form a narrow frame on top of content which is sized under an adjustment layer to play within safe margins? It’s a picture frame ‘look’ of OOF colors bouncing off of a swatch of tinsel, sparkle movement, playing behind and assortment of stills, video and graphics for a Christmas CD Point of Sale piece.

In PS turn the clip length into a smart object? Or is there a tool I am missing in effects for PP or AE?

My strength is not in PS as I shoot Nikons and came up with NIK and CNX2 but I am reading PS The Missing Manual, one page at a time.

Any thoughts would be appreciated and sorry for the OT.

Many thanks for the edified response.

Rob Manning

[Rob Manning]

Hi Jeff,

I’m confused about previews. In PC world, this simply gathers (looks ahead) the data from a buffer (so to speak) and does not re-render that frame set but links to the original.

Your posit indicates this is incorrect, and causes some concern for me in projects already in the can.

Please clarify and thanks.

Rob Manning