Scott Rachal
Forum Replies Created
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[Craig Seeman] “I guess the Convergent Design Gemini could be used at around $6 when it’s released and that would bring it close to $20k
Is there some other recording device I’m overlooking?”
No, I think that sums it up.
I wasn’t trying to imply that the F-3 would be this guy’s solution. I just didn’t want someone to read this thread and walk away thinking the F-3 couldn’t do 1080 60P out of the box… That’s all.
Cheers!
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[Craig Seeman] “But Dual Link brings it above $20K”
No, that is incorrect. You do not need the S-Log option to get 1080 60P over the dual-link connectors. You only need the free firmware upgrade to version 1.2.
The $3800-ish S-log option allows you to send 444 video with the S-log gamma curve out over the dual-link connectors, and enables LUT’s on the SDI output.
1080 60P can be achieved without the S-log option.
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[Craig Seeman] “BTW for those wondering, Sony F3 does not do this.”
Actually, the F-3 will do 1080 60P. But it can’t record it internally.
If you have the 1.2 version of the firmware, the F-3 can be made to output 1080 60p across the two dual-link SDI outputs. A Dual-link capable recorder could then record the 60p output. We have recorded the 60p dual-link signal on our Kona 3.
I realize the fact that it won’t record the 1080 60p on SXS cards is an issue, but I felt Craig’s statement needed clarification.
Carry on….
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There is a 7/64″ hex screw just to the left and above the lens mount (if you are facing the camera) Refer to page 30 of the manual to get info. The manual refers to the adjustment as “”Flange focal length”
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We use one of these. $26 at Harbor Freight.
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When you set the ISO to “Auto”, the camera will change the ISO on-the-fly to compensate for light level changes. We noticed early on that the camera will lag for 1-3 frames when the ISO changes. It looks like those frames were just snipped from the footage. I guess the camera can’t handle recording, and an ISO change simultaneously.
Try shooting with a set ISO, don’t use auto.
-Scott
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You should probably move this question over to the “Audio Professionals” forum.
Your question has been asked there many times…Ty Ford will be happy to answer questions after you search the older posts there.
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[Scott Sheriff] “Probably because most of them are working their way through school, which helps them build theri work ethic.”
I worked my way through school also, maybe you’ve touched on the key trait… The hunger to excel in this craft drives you, in school – or on the job. Without it, you get the malaise you describe in the first part of your post.
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[John Grote, Jr.] “I started as a dubber … I learned about timing, pacing… I learned to trouble shoot equipment … the importance of bars, tone and signal flow. How to read scopes … All of these things are not taught in most colleges.
“Someone with your experience is always sought after this industry. Use innovation and tenacity to bypass the ‘degree’ filter…
//never felt entitled by a piece of paper…
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Depending on how out of focus your footage is, and how much running time you are talking about, try shrinking the footage.
Maybe put a full-bleed, toned picture in the background, and have the footage in question play at 40-70% of full size. As the picture shrinks, it will look more in focus. (Once again-depending on how out of focus it is)
Maybe put two shots on screen at the same time, both reduced in size? Depending on the content…