Trevor Ward
Forum Replies Created
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If I do get a pelican, I’ll put my clothes and laptop in the backpack and carry that on. Then, once I’m in country, I can put the camera in the backpack and it makes it easy to pop that thing on your back and have your hands free to run down busses and fight off pick pockets.
-tw
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
I agree with Noah. Log and Transfer IS the way to view the files. You’d preview the files in the L&T window and select only the clips you want. You can even select in and out points to transfer. If your computer doesn’t have FCP, you can try toast.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
May seem like a silly question, but you ARE in manual white balance mode, right? Not AWB or on one of the presets.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
Last I traveled with gear domestically was early december and internationally was august. I travel with a lowe pro backpack and put my HMC150, laptop, and external drive in there. I haven’t had problems. On my international flight, I actually had all that plus a dvx100. It was way over the weight restriction but I kept it on my back when I checked in and no one bothered to weigh it.
Having said all that, I’m seriously considering buying a pelican case and just checking it. The backpack is quite heavy with all that in there and the pelican would give me peace of mind that nothing will break. TSA lock will protect/deter from theft.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
Honestly I’m not a codec expert. I went crazy this year in comparing cameras and whatnot. It’s really hard to say “All else being equal.” because it’s not. It’s completely irrelevant to compare just codecs because there’s so much more that goes into the quality of the image.
About the best you can do is look at still images from different cameras and see the differences.
I will say, in my limited research, the HDV image is probably the lowest quality image you’ll see. However, HDV cameras are consistently being used as b-cameras and even a-cameras for broadcast television.
I’d look at budget and workflow and specific needs above all else.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
Aha, yes. The 300 is nice, is a shoulder mount camera and has interchangeable lenses. But the 300 has smaller chips AND it’s CMOS, which many people object to.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
I can answer that last question. 1440×1080 doesn’t use square pixels. It’s pixels are wider than square, so each pixel is covering more ground. What that means is that you’re not really getting 1920 lines of resolution. The codec compensates for this and does some math so that it doesn’t have to record as much information. So, if you’re image is in the shape of a football field, both resolutions are recording the length of the football field. The 1920 records 1920 small slices of the field. The 1440 records 1440 slightly bigger slices of the field.
The HPX 500 and HVX 200 do this.
Overall, all these cameras are going to have a great image when looking at a well lit image. I’ve seen the local news channels shooting with 150’s. Where they start to separate from each other is in optics and latitude. The smaller chip cameras will not give you as big of a range going from highlights to blacks. They are noticeable different. Also, the optics for the bigger cameras are much better and give you a better depth of field and cleaner image.
I own a 150 and it has a super wide lens and the images look great. However, I’m a bit disappointed with the depth of field that I’m able to get.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
You can use fishing line. The problem with a green glove will be if you key out the glove, you will have black in its place. You’d have to have a background plate shot, basically the same scene, and you’ll have to be locked down on a tripod.
Even with the string, it’d be a good idea to shot a background plate (the scene without the actors or the phone in it) in case you need to do a wire removal of the string.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
Then your real question isn’t how to keep the clips synced, it’s how to deal with a clip that’s unsynced. Not quite sure how that happened. I can’t tell you the last time I recorded something that’s unsynced. What you should do is take the original clip, assuming it’s a long clip, and put the whole thing on your time line. Go to the spot where you can read their lips. In the timeline, select the clip. Then hit command L (or apple L) or go to the menu and select Modify | Link (this will uncheck Link. No, type S on your keypad or in the tool bar select the Slip tool. Now select the video clip and move it left or right until the lips are in sync with your audio. This is called slipping the clip. It will take some fine tuning until this is done.
When you’ve got it, type A on your keypad or in the toolbox select the pointer. Now select the video AND audio clip. Hit command L and your audio and video are now re-linked and in-sync.
Go ahead and make your edits.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
Then what’s the problem? I’m assuming you’re moving the camera and you recorded that. So put your clip in the timeline. Cut right before you move the camera. Cut right after you have repositioned the camera. delete the unwanted portion. push the two clips together and add a cross-dissolve or some other transition.
then do this how many ever times you moved the camera.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl