[Rob Manning]

I’m not a MAC person but as I understand your question, yes, loading a .mov file should not be at issue to then build markers etc. also not a big deal.

You are going to SD (DVD) correct? If so, Encore is fairly easy to grasp with numerous tutorials here and at Video Cop etc.

Not sure if En is still operable on the Adobe CC platform, if not numerous downloads are out there from Safe Harbor and other non hacked vendors.

I also believe (could be wrong) that CC allows you monthly usage license, so you can drop the subscription should you no longer need it.

HTHs

Rob manning

[Rob Manning]

Steve,

I’ll post your question and see what happens.

I put it (entire post) into the DSLR Video forum, there are a few guys who have broadcast AV chops so I’ll let you know.

Rob

[Rob Manning]

Hi Ann,

I am a paying user have been for years as a business expense along with several other annual fees like web server, APA membership so I forget the conditional aspects of signing up.

If they seem unfriendly, apologies.

The data and expertise have been invaluable for me as a media person however.

Thanks for making that observation.

Rob Manning

[Rob Manning]

Hi Steve,

Try this forum: https://www.nikonians.org/forums/dcboard.php?az=show_topics&forum=301

Or this one: https://www.nikonians.org/forums/dcboard.php?az=show_topics&forum=160

HTHs

RM

[Rob Manning]

If you have a second camera, do an overlap shoot with another angle, or use a still or motion/effect.

In post, Slow down, zoom to where one cannot see the lip synch, pan from one side (comp) then cross fade back to real time, or show object being discussed, the facility, audience, product, etc. to sew up the video gap.

As Steve points out, the golden sound bite looms however.

The limitations are caused (generally) by international tariffs and yes Panasonic devised a method to circumvent the time limits (Superior marketing).

Also, some cheap some not, HD enabled DSLRs can go straight to an external HDMI recorder like the Ninja 2, which like the GH series will then only be limited by battery life and storage capacity so as NOT to shut down at 5 (D90, D3S), 12 (Canon), 20 or 29 minutes (D7000) and newer etc.

RM

[Rob Manning]

Good job Slade.

Some folks would add the sun-lens flares in (a fad these days on TV commercials) in post, yours is au natural of course ;-).

[Rob Manning]

Slade, Steve makes great points however, back to the issue at hand. You purchased a Nikon HD enabled DSLR, so as with most ‘tools’, master it’s capabilities and it should work for you until you trade up.

Focus: Neither the Canon or Nikon offerings use on camera technology for fast motion resolution (focus) unlike Sony (FS7/A99), or the GH series from Panasonic which resolve motion (movement of a subject) using the sensor/cpu. In other words, until this week when Nikon released video about the new $800 (D5300) body did they address trying to solve that issue (a new lens designed for the body).

So you will be better off shooting in manual mode.

While adherents of the Ford versus Chevy camps (Nikon/Canon) can argue till the cows come home, by most photography measures, Nikon (arguably) has a better DR over Canon. Don’t ask me for links though, the threads on that are buried somewhere in Nikonians archives.

Picture Control: Shooting with neutral is best but a Flatt profile, will get more bang from your camera, reducing crushed blacks and burned highlights. https://www.similaar.com/foto/flaat-picture-controls/index.html

ND Grad: Many choices, Genus is what I use and yesterday I shot Eagle Rays as the bright white late afternoon sun was overpowering everything, but set the exposure (for video and stills) on the D800, using the histogram for balance, not how it looked in the live screen because the graph isn’t playing tricks on one’s eyes. As the sun moved behind the clouds for good, I took the grad off and adjusted once again.

On a machine without LV histogram, set the shot using a still, making sure the ISO, frame rate, etc. are the same. Then look at the NEF to gauge the situation. This is what we do on our D7000s.

Note that on Nikons, the video frame rate (24/30 etc.) is hard set in the movie menu and adjusting the frame rate on camera during a shot or between shots has no effect on the capture. It does affect the exposure. Easy enough to check, shoot with different frame rates then open up in Premiere or other NLE and the data shows filmed at whichever setting is chosen in the movie.

I (we) own 1) D90, 2) D7000s, 1) D3S and 1) D800 plus over a dozen older and newer primes, and the requisite f/2.8 zooms.

There is no way anyone can tell me that buying a camera like yours was a bad decision, based on economics, OK, but bear in mind, no matter which brand of body you choose, the h.264 codec is burning into the data things like WB so getting as clean and balanced a shot as is possible is what matters. They ALL render files at 2MPs.

HTHs

Rob Manning

[Rob Manning]

Thanks for the links.

I was (guessing) an attenuation buffer cable would help, not make things worse and my audio spec chops, well, left somewhere back in the ’90s at DSR in Eagle Rock, so parroted as a live fire exercise.

Why else would they sell them (marketing)? Duh.

Thanks,

Rob

[Rob Manning]

Hi Randy,

My audio with the D800 is not wretched, used it more than once when dual source didn’t apply.

That being said, your needs differ no doubt.

Here is a bench test thread from Nikonians : https://www.nikonians.org/forums/dcboard.php?az=set_threaded_mode&forum=402&topic_id=1926&prev_page=show_topic&gid=1926#1935

Also, the combo will benefit further from one of these: https://audio-video-supply.markertek.com/search#w=sescom%20dslr%20nikon&asug=

SESCOM, makers of the now scarce as hens teeth IL-19 line attenuator (they changed the design) sacred to live sound crews, makes a ton of attenuated 3.5 mm TRS cables for maximizing the gain structure in camera.

Have fun!

Rob Manning

[Rob Manning]

Omar,

It may not be an issue with the brand or capsule, it may be because head movements can cause drop outs.

Countryman and DPA make ear worn mics along with everyone else but these are unsightly and require a strap across the back of the head to keep from falling off (on occasion).

Actors on stage have mole skin tape holding the element still near enough to be functional for lavs.

The DaCappo brand, was among the first with ear worn to have a mastic feel on the earpiece, so even active people won’t knock them off.

Does the production allow for ear worn as a look?

Thanks,

Rob