Tony
Forum Replies Created
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One of the reason this feature was deactivated is you will see alot of lite pixels during the long exposure.
So don’t be surprise to see alot of lite pixels when you use 1 fps.
Using such a long exposure does take getting used to since by the time you react the action has already happened in the viewfinder.
Tony Salgado
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This is a minor bug in FCP.
Right click on the clips in question in your browser and select item properties then format.
Under the format tab verify if anamorphic has a checkmark by it. IF not add click beside anamorphic to add a checkmark.
This should fix the problem.
Tony Salgado
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One major ingredient missing from this ageless discussion on the ever so after “film look” is the talent and creative contributions of those behind the camera.
Generally on a film shoot or high end digital cinematography shoot the technical and creative skills of all the principal players involved contributes significantly to the resulting stunning images.
There is no comparision when debating what a two person ENG crew can accomplish and a film crew of thirty or more persons can do.
People first technology next has always resulted in everlasting imagery that speaks for itself.
Tony Salgado
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Ron,
The danger with no one speaking up is that deliberate misinformation will eventually become “ground in stone” unless someone speaks up to dispute the statements made.
There are always two sides to a story theirs, ours and the truth. Which one you believe depends on what your objectives or agenda are.
Misinformation spread solely for the sake of increasing sales is equivalent to laying rotten eggs.
Tony Salgado
Disclaimer: My statements are not directed at any specific person or manufacturer instead they are based on my personal observations.
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Ron Dexter is a DP from way back. I have some of his early Dexter Tips video tapes which are a great resource and based on his years of commerical experience as a DP.
His knowledge and information is priceless you can’t go wrong listening to his tips and guides.
Tony Salgado
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Randy,
RAM is not the only essential issue here. What is the CPU speed. Single or dual processor? How long is the 8 bit clip? What type of hard drives are you using. Do you have a raid? How many filters have you added to the 8 bit clip. Was the clip original captured as an 8 bit clip or is it being trancoded from the original native codec capture?
All these variables can account for the length of rendering time.
Your question is similar to asking why does my car only get 12 miles to the gallon without telling anyone you have low tire air pressure, carrying 2000 lbs in the back, running the AC at 100%, constantly speeding up and slowing down etc etc.
Tony Salgado
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Tony,
Your case is a good example of why it is essential to understanding the post production workflow long before you start shooting.
It is not safe to rush over and skip critical technical information and knowledge just so you can avoid all the techno mumbo jumbo.
Expecting to output 24P to standard def was a major oversight since there is no current 24P standard def vtr in existence.
Tony Salgado
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Danny,
Two major issues- Joe seems to have been inexperience as a professional operator of the gear and you trusted him without having worked with him to confirm his knowledge and experience level.
So if you intend on having to refund the client money speak to Joe about the reduction in his fee for poor,sloppy,unprofessional and downright unacceptable work.
A camera operator who cannot focus properly is either blind, stupid or just incomponent and should not be paid as if was qualified.
Joe needs to learn along with you that screwing up on the job will have consequence because both of you will have to suffer. If Joe was hired as an employee you can’t hold him responsible as some states have labor laws which protect even an incomponent employee. However as a freelancer contactor the case may be different.
Ultimately both of your reputations have been damaged.
I would never hire Joe again and the bride and groom will most likely tell all their friends never to hire you also.
It a tough place to be in and I wish you the best in the future.
Tony Salgado
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Gary,
Please re-read the underlying topic of my original post which referred to adjustment of the preset W/B gains. I never inferred that Sony’s method was the only way instead I stated what my personal professional experience working as a video controller/DIT and video engineer has been.
I believe Robert is referring to using the electronic white balance which forces 5600K when using the clear 3200K filter. FYI the Dalsa Origin camera used 5600K as it base value not 3200K. Cameras which use the electronic daylight white balance gain an additional 2/3 stop increase because the 85 filter is not used.
BTS now Thompson/GV does use electronic WB which works quite good compared to other camera brands.My personal engineering setup which I have used successfully for years along with dozens of other qualified video engineers and DIT’s who I work with start with the 3200K filter when adjusting the preset W/B values in addition to all the other baseline values. I have used this procedure on Sony,Ikegami and Panasonic cameras SD and HD with great success so I can only speak from personal professional experience that this technique does work for me and others. In addition the major rental facilites I deal with are using DSC charts under 3200K lighting (kinoflo or tungsen lamps).
If you properly set up the preset W/B all the color temp filters in preset mode will track correctly including the 5600K and 6300K filters. In addition multiple cameras will match precisely in preset W/B mode which is useful for film style shooting as well as run and gun reality tv shoots.
There are dozens of way to catch a mouse also.
Tony Salgado
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Charlie,
These are my first three choices for rentals.
Plus 8 Digital 818-333-1000 (ask for Gene Duggan)
Bexel (818-841-5051)
Clairmont cameraTony Salgado