Tim Scarpino
Forum Replies Created
-
It sounds to me as though you’ve got a broken/loose wire in either the DVX recepticle, which seems unlikely, or the connector for your controller,which seems more likely.
I think you’re on the wrong track with the notion that “cleaning” will help. My money is on the connector for your remote.
Have you ever walked away from the DVX with the controller still in your hand, only to be tugged back to the DVX like a dog at the end of his leash?
Good luck,
Tim Scarpino
-
You should do the process I outlined just before you begin shooting, and you must be in the “free-run” mode, otherwise you will be out of sync as the cameras stop recording at different times. Failing that, the clap-board method may be of assistance.
Good Luck,
Tim Scarpino
-
For the money, they can’t make it fool proof. By any traditional standard of cost in television production, the DVX is an utter bargain. You’ll need to spend at least 3 times what the DVX cost in order to “slave” cameras together for TC purposes.
Cheers,
Tim Scarpino
-
There really is no way to have the DVX do “in-camera” slow motion in the sense, or way, a traditional film camera does. This must be done in
a NLE. I’m not as familiar with FCP as I’d like to be, but I do know, in Avid Media Composer Adrenaline, there are settings for the “kind” of slow mo you want. Some perform better than others.Look into FCP, or go the the FCP forum here at Creative Cow and ask the question. Someone should have some guidance.
Cheers,
Tim Scarpino
-
The 100s will not “slave” to another camera in the traditional sense. To get identical timecode on each (100,a,b) camera, insure you’ve got a hand remote that controls both, put them side by side, set TC to “Free Run”, and set to the TC you want. Basically the remote control is controlling both cameras so that they have identical timecode.
There may be some configuring in the camera menu involved to get the remote control to direct both cameras, but this is the only way to get identical TC on both.
Or so I think.
Tim Scarpino
-
When black balancing, the camera automatically closes the iris. No need for you to point to black.
Tim Scarpino
-
Greetings,
I might lean towards the JVC versus something you might get at Best Buy. While there’s never any way to be sure, it should come from the factory set very close to “true” colors, what ever that may mean. If you’ve acquired your footage already, I hope you began by capturing some color bars at the beginning. Setting your system to the camera color bars is essential to insuring accurate color reproduction. Most NLE systems have a combo waveform montor/vectorscope built-in to assist. In addition to color, you certainly want to insure you keep peek video levels below 100 IRE for the majority of SD broadcasters out there.
In short, I think you’re always better to defer to the “professional” products over a consumer model. Keep in mind, what’s red to you, may be pink to someone else, which is why it’s best to defer to the “objective” vectorscope.
My thoughts,
Tim Scarpino
-
[Bret Williams] “He’d get all the manuals just like when you upgraded to FCP 5.x. He’s upgrading from version 3.x. He’d be purchasing a full brand new upgrade in the box with discs, manuals, etc. However, whether the boxed versions are up to 5.1 yet who knows. They most likely are since it’s an intel version and they sell them in the stores.”
That’s correct, I am upgrading from v3.
Tim Scarpino
-
Have you tried going to your Media 100 folder under applications? There should be a folder in there that references backups. Should be several in there to choose from.
It’s been awhile, but I think this should put you on the right track.
Tim
-
Yes, I had issues and was sent a “new” version of 4.3 by Sorenson
Actually, I’m running version 4.3.303.17
I haven’t had the QT issue since I installed it.
Tim Scarpino