Tony
Forum Replies Created
-
You should also verify if both the LTC and VITC timecode match and where which one the IO is using for reference when it is in shuttle mode versus pause.
If the tape is a pre-edited master it is quite possible VITC timecode was not regenerated when the editing was done which would cause a difference between the LTC and VITC timecodes to occur. When this happens the result will be confusion during the capture stage.
On some betacam vtr’s there is a switch labeled LTC, VITC and auto which allow you to select which timecode you will send out the 422 9 pin cable. Set it to LTC and see if it makes a difference.
Tony Salgado
-
Why not use a video capture card and capture transcode live on the fly to a preselected codec?
Suggestions for capture devices are AJA IO, Kona etc.
Tony Salgado
-
virgilxavier,
The press stories you have been reading touting the miracles a certain director had using pro-consumer equipment on his last movie are at best promotional hype with a sense of confusion added by the writer who could not tell the difference between a Panaflex and a fisher price camera.
The professional look you are seeking is the result of what so many on this thread have cleared pointed out which is raw creative talent first and foremost. Talent combined with technology equals memorable images. The combination of talent,experience, motivation, desire along with technology are some of key ingredients necessary for creative productions.
Any movie analog, film or digital toliet paper needs to have a crew who understands and is experienced in the art of creative lighting and movie making. Mastering any new digital medium still starts and ends with the most essential analog element lighting, lighting and lighting.
Buying a prosumer camera and expecting the internal digital marvels to outshine those who have spent a lifetime mastering the craft of moviemaking is similar to buying a VW bug at the flea market and then showing up at Nascar in an attempt to qualify for entry.
However learning the craft of moviemaking only requires a keen interest and desire to learn from those before them. If you are sincerely interested consider taking an introductory lighting class to learn how to shape, mold and draw with a palette of lighting instruments and tools.
The core elementary skills you learn will last a lifetime.
Good luck,
Tony Salgado
-
If you put the camera on it side you did not get the maximum horizontal resolution instead it was less than if you shot it right side up.
Maybe you were looking for more vertical resolution?
Tony Salgado
-
John,
I highly doubt if Panasonic really cares about the wear and tear on the heads or else maybe they would have included a security lockout disabling the firewire port via a owner defined password. Just think of all the additional income they can receive via the service center from excessive wear and tear on the heads.
They don’t concern themselves with how a client will abuse your gear as they leave that up to you to enforce your set of company procedures however you want.
Steve Wargo another cow contributor had a great response to this issue awhile back. He has a clause in his rental contract which charges the client for excessive use on the camera heads due to digitizing. He simply keeps track of the head and camera hours to determine how much real shooting was done versus late night digitizing.
Just because the firewire port is there does not mean you have to offer it as a digitizing solution to cheap clients who have no regard for the long term implications on your job.
As far as the tyler mount is concerned I would be less concerned about that than I would be about clients grinding the heads down on an ongoing basis.
But seriously maybe there is a firewire port locking device that could be inserted into the port thereby disabling access to the port. Sort of like the security devices available for laptops.
Tony Salgado
-
John,
Disable the outputs by insert super glue into the port.
Then you never have to worry about some cheap client grinding your camera heads non stop during an all night digitizing session after they have shot all day hoping to use your camera for 24 hours straight.
Tony Salgado
-
The footage could have been recorded in 29.97 have you verified it is actually 23.98?
The frequency on the SRW deck needs to be setup correctly for playback at the proper frame rate.
The manual is fairly straight forward on explaining how to set up the menus .
The srw-1 is very easy to setup compared to the srw-5000 series decks.
Consult with the engineering staff at the rental facility you obtained the deck or hire a qualified engineer to set up the deck for you.
Tony Salgado
-
Bob,
The foreground is too warm in relationship to the background which is more blue. Even if the white balance was done properly under the two different lighting condition the two shots would have different looks in terms of warm or cold.
The two look out of place when combined together due to the differencs in color temperatures.
This is a common issue with green screen work and only color correction will help the blend them together.
Color finesse is fine to do the job just adjust your primary red and blue white gains along with gamma if needed.
Tony Salgdao
-
Both the 110 and 100 can be composite or component generally the letters CV are added to indicate analog component.
The easiest method to deal with camera which do not have external genlock inputs is to use a switcher such as a panasonic MX-50 or other which has a frame sync on each input. This way you can send it a video signal without having to genlock the sources.
Tony Salgado
-
There is no difference what so ever except for the fact the director can pocket the money for his HVX rentals instead of getting superior image quality and paying the rental house for the luxury of doing so.
Tony Salgado