Trevor Ward
Forum Replies Created
-
How many times did he say his client didn’t SEE anything wrong? Some of you answered a question that was never asked.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
First, figure out from which camera you prefer the audio.
Second, put both clips on a timeline, one over the other (V1 and V2) and sync them up.
Third, for the audio you DON’T want, change it’s volume level to zero. Make that your top track (V2).
Fourth, using the blade tool, cut the top track where you want to create transitions to the bottom track. Delete the unwanted edits.
Fifth, add your transitions to the clips on the top track. Voila!
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
HMC 40 is NOT a stripped HMC 150. I believe the 40 has CMOS sensors. I believe they are quite a bit smaller too. So, don’t expect it to yield similar results.
Also, I’m not saying that the low light performance is good. Good is a relative term. All I’m saying is that it’s better than the A1U from sony.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
Not quite sure what you’re asking. But if you’re asking about low light performance of an HMC150, I’d say it’s pretty good. It’s better than the HVX200. It’s also better than the sony A1U. I shot a wedding with it. The other camera was the A1U. Comparing side by side, the reception was much brighter and less noisy than the Sony.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
I’m using a MBP that is 2 years old. 3 GB RAM, 2.16 GHZ intel duo core chip. This machine is fast enough to edit, etc. The only real slowdown for me is the transcoding process in ProRez. This is primarily due to the slower processor. You should be fine. I’d have 3 hard drives if I were you:
1. 1 TB hard drive for the media files. Perhaps a RAID 0. ProRez files aren’t small.
2. Two 500 GB hard drives for archiving your original media. Since you wont have tapes, you’ll need hard drives for back up. You’ll want two in case one fails. Or should I say, you’ll want two for WHEN one fails. If you don’t like using hard drives for this, then go the Blu Ray archive route.-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
I’ve had this happen to me on several cards. Different brands. I called Panasonic. After a bit of going back and forth they eventually asked for me to send the camera in. They replaced it with a new one. New serial number and all. I would call Panasonic if I were you and bug the heck out of them.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
Yeah, give me their name or number.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
Using the playback function of your camera, go through the footage you don’t want and delete it. then, copy all the contents of the card onto a hard drive. Back up the hard drive. Then put the card back into the camera and format the card.
I name my folders like I was naming a reel, 091001 01 soccer game. That stands for 2009, October 01, card 01, soccer game. That way later, when you are looking for footage, you can find it by date or the name of the event.
-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
I would recommend one of two options.
1. Go as high as your available light will let you and still keep exposure good. This will give you very crisp edges without any motion blur. If you take it to AE or use special slo mo software, it makes the math a bit easier.
2. Go twice as fast as you slow it down. meaning if you will slow it down to 60 fps, shoot at a shutter of 120. If you will slow it down to 1000 fps, shoot with a shutter of 1/2000. This will give you a more natural motion blur, replicating a high end high speed camera.-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl -
I’ve used the cup before. I had good results. However, we were driving pretty slow, about 5 mph. When going a bit faster, the whole car, thus the whole camera, is going to go up and down. Don’t go too fast or you risk having the camera rip right off the car.
If you want professional level stabilization, you’ll have to get one of those production trucks that has a stabilization arm on it. It’s sort of like a giant steadycam but instead of a person, it’s a car. It’s kind of like a transformer, really. I just thought of that. I’ll definitely check the emblem on the hood next time I see one.
And here’s the other thing. If your camera is relatively stable (tripod, bag, whatever), the bumps may be noticeable but they are acceptable. I was in a taxi in India and I put the tripod on the floor and back seat. I pulled down onthe tripod to make sure it didn’t jump off the floor when the car hit bumps. And there were plenty of bumps because there is no such thing as a smooth road in India.
When playing the footage back, it looks pretty good. When playing it back at slow speed or time lapse, it looks great.
So, you can call your local equipment rental company as ask for a grip package for a car mount. You’ll get a bunch of bars and clamps and you can mount the camera anywhere on that car your imagination takes you.
https://www.picturehire.com/grip.html
https://www.filmcastentertainment.blogspot.com/2009/05/grip-grab-grog.html-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl