Tony
Forum Replies Created
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Chris,
I would be more concerned about what happens when the GV infinity camcorder is released with 24P at a price point of 20K.
But then again there is the eventually releases of the P2 Varicam to follow.
Tony Salgado
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Which camera are you referring to?
If it is a varicam no it does not record 1920×1080 in fact no HD camcorder is capable of doing this presently.
Most LCD monitors are not considered critical enough for post production work except for ones such as the Ecinema models.
For a client viewing monitor the LCD factor makes them look sexy and attractive but in somecases the image quality is less than a CRT counterpart.
You have to decide which is more important.
Tony Salgado
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Locking the signal maybe he meant genlocking the camera which is necessary for proper timing into the switcher.
If the CCU’s, switcher etc are not genlocked together than regardless what you do at the CCU’s the resulting images on the switcher will be out of phase and not only will the cameras not match but you will experience image roll or horizontal movement side to side when you attempt to cut or dissolve between the non genlocked sources.
Is your switcher a composite, component or SDI model? What are you feeding out of the CCU’s to the switcher composite, component, SDI?
What CCU output signal is your video controller (camera shader) using for shading the cameras composite, component or SDI?
When you view bars generated out of the CCU are the video and chroma levels at unity? What about when viewed out of the switcher is it at unity also?
One last thing to check if the signal path out of the CCU the composite and component levels made be mismatched so what you see on one output does not match the other. Generally you should have no problem using the composite outputs to match camera but record the component output to tape. If both outputs are aligned properly and are at unity they will match in terms of video level, black level, chroma level.
Tony Salgado
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Gary,
thanks for the tip.
Tony
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Tom,
None of what you mentioned for a product shot involving jewelry is unique to the varicam as the concepts apply to any shooting format.
It is all about the lighting to make the product “sparkle”. Various options include a soft box overhead, or using dedo lights to concentrate on specific pieces or area of jewelry. Rim lighting would be recommended to highlight the jewelry as it rotates on a tabletop. I have even used lighting from below the table through a piece of diffused plexiglass in the past.
Using a “lazy susan” – rotating turntable is a great ideas along with a dolly for the camera to create motion from opposite directions.
One lens I use for small tabletop products is a snorkel lens but I found the image quality to be a bit soft but ok and you have to deal with the light loss. Using a jib or dolly is ideal for use with a snorkel and/or probe lens.
If you use either confirm the lens is rated for HD.You get focus falloff with the snorkel/probe lens which is ideal for isolating a specific item.
Tony Salgado
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It is the Black Magic codec, it was originally used with the kona sd.
Go to BMD if you need additional info.
Tony Salgado
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Tom,
The issue of jam syncing to an external timecode source off tape is not the most ideal if you do not want to deal with repeating timecode throughtout the entire tape and cause issues when digitizing. However you are unique in that you have chosen to work around this issue by capturing each clip individually.
Since the timecode will not be ascending timecode the tape deck will become confusing if you try to batch capture as each scene has the same repeating timecode. The use of a smart slate with visual timecode would add no additional time to the process and the cost of the rental of a smart slate is a drop in the bucket considering all the other production factors involved.
In addition the proper method for multicamera productions is to genlock all cameras to a common blackburst source as well as common timecode generator. This insures the proper phase relationship between the start of the timecode and the video frame. In your case you should be genlocking the playback vtr if you wish to send that timecode to camera.
When shooting in standard def 24P it is essential to have all camcorders genlocked and synced to a common timecode to insure that the 3:2 pulldown sequences is in phase with timecode frame start and end.
In HD if shooting at 23.98 you must send 23.98 timecode to all cameras not 29.97.One great feature in FCP is the ability to modify the timecode via the aux track which allows changing the camera timecode on a per clip basis to match a visual timecode slate or any other visual device. The original clip timecode is still maintained but FCP will use the aux timecode which you can use to sync your shots. In FCP 5 then you throw all the clips into a multicam sequence and cut live on the fly.
Keep in mind the main advantage of maintaining ascending timecode on all camera masters is the speed of batch capturing, the ability to log in the field using the timecode reference and not explain what take it was so the digitizer can manually search for the actual shot location on tape.
Tony Salgado
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Wayne,
0 setup is not unique to DV all digital formats offer no setup (DV,HD). 7.5 setup is for analog NTSC output and is not just for broadcast productions. Anything that will be output in analog (component or composite) and displayed and/or transmitted on a NTSC monitor should have 7.5 setup added (unless you what to recalibrate the monitor’s viewing settings for zero setup.)
SDI and DV have no setup so black is at 0. There is no additional color correcting needed to comply with NTSC analog output since
7.5 setup can be added via the output via the video card, tape deck or digital to analog converter.One last note SDI is not a losseless “clone” as each I/O (in/out) of dubbing involves a decompression/compression cycle. SDTI is considered the proper method for “cloning” SDI material.
Tony Salgado
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Setting a common Iris for exposure goes a long way to make the images match also.
Tony Salgado
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Bob is correct from what you describe the problem is that your monitor is expecting a NTSC composite signal and you are feeding it Serial Digital.
You image should look like snow sort of grainy like you described.
The solution get a SDI to composite analog converter.
This is a common oversight since those damn bnc’s all look alike but if you take a close look at the Kbox it is labeled in small type SDI which can be switched between HD SDI And SD SDI.
Tony Salgado