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Joey Daoud

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Posts posted by Joey Daoud

  1. Thanks for the help, David. Is there an easy way to extract that and save it as a text file, just in case? But as far as color correction and quality go, converting it to Quicktime has no effect, correct?

  2. I got a Sony EX1 a few months ago for a long term documentary project (filming over a year) and smaller freelance projects.

     

    So far I've been using the XDCAM Clip Browser to pull the files off the SxS cards onto my hard drive, sorted in folders based on projects.

     

    Then to edit in FCP I'll either use XDCAM Transfer or Log and Transfer to turn the clips into Quicktimes to edit, and here's where I get curious.

     

    Do I need to keep the original XDCAM clips or are the Quicktimes the exact same quality? Is there any quality or color space loss for color timing? Each clip is now taking twice the space and pretty soon that's going to be a big issue.

     

    Premiere can just read the native XDCAM clips and edit straight from them, which is nice. Is there a way to just have a small quicktime proxy of each clip, or is that totally unnecessary?

     

    I'm also open to other ideas for FCP/XDCAM workflows with minimal hard drive footprint, as well as any inexpensive archival ideas. Thanks!

  3. So I didn't realize it was you until I read the end of the post and I thought, "Wow, they're really friendly. It's like they know me."

     

    I shot my lifehack doc on the HD100U. I really liked it, great quality, I was just curious to see what other options there were in the 1080 field.

     

    But on the flip side, I shot some more stuff using Ryland's Sony 1080i cam (sorry, forgot the model number) and every time there's fast movement I get those interlaced lines. Now I'm not sure if it was the camera or that I imported it as MPEG then converted it to MOV. So this has me worried about something fast paced like boxing.

     

    Thanks for mentioning the EX-1 and 3. I was also thinking about the Panasonic P2 cam. The only concern I have with going tapeless is this'll be remote shooting, filmming a lot of fights a day, and it'll get costly to get enough cards to cover my ass. But I guess these can take hard drives, no? Are those reliable?

     

    And also because I'm traveling the JVC is a little bulky.

     

    Thoughts? What's the main difference between the EX-1 and 3, besides 2 grand?

  4. I'm producing a shoot of a boxing match in a few months and I'm trying to figure out the best camera to use.

     

    Here's the situation:

     

    -Multi-camera shoot, so I need something that can have the time code synchronized

    -Handle low light well

    -Handle fast movement and action well

     

    Any camera suggestions would be a great help. Thanks!

  5. Is it necessary to call out scene and take number if the sound recordist is already recording those for his own reference?

     

    I'd say yes because even though you can put the scene and take number in the file name, the sound mixer could get it wrong, so therefore it's nice to have the verbal slate on the actual audio file just in case.

  6. Thanks Leon and Simona. Being in school right now we have a little fun with it - the last show I was on we used Harry Potter words, even going so far as 'Scene 3 and the Goblet of Fire,' but this was partly the script sup's idea plus the script sup is the assistant editor, so they're syncing the footage. I just wanted to know when I hit the real world if there was a standard, because I'm pretty sure '4 Black comma Sirius' won't fly. Thanks again.

  7. Does anyone know the official (if there is one) film alphabet used when slating a scene? Apple, eh Baker?... I know it's different than the military alpha, bravo; but a Google search yielded nothing. Or am I wrong and there is no official alphabet, just use a word that starts with the letter? Thanks.

  8. Does anyone know the official (if there is one) film alphabet used when slating a scene? Apple, eh Baker?... I know it's different than the military alpha, bravo; but a Google search yielded nothing. Or am I wrong and there is no official alphabet, just use a word that starts with the letter? Thanks.

  9. I was reading the Dean Cundey interview in Contemporary Cinematographers and he mentioned how he took a class at UCLA taught by James Wong Howe. "We built a little three-walled set - a window, door, a table, and a few chairs - and he showed us how to light that set for different moods and styles. One day it would be a rundown, seedy hotel, the next an elegant room. The set wouldn't change, just the lighting and equipment."

     

    Does anyone know of any websites/books/dvds that give examples of this - the same location looking drastically different simply by changing the lighting? Thanks a lot.

  10. Ha, yeah video wise I've probably only used autofocus/exposure, but I do have a still photography background and I know how to focus and measure light manually there. I was just asking about measuring for focus for a more crisp picture because I know I've read in other places that the viewfiners of video cameras do not have high enough resolution to make an accurate focus, but by recommending a monitor I suppose you answer my question. Thanks again.

  11. The 14x is my favorite lens for the XL1 and XL1S. It is not difficult to use at all. You need to set the back focus and the iris is manual, it does not use the electronic iris in the camera. The focus and zoom are also manual and you can definitely use a follow focus on the lens because there are no servos in it like the stock lens has.

     

    Thanks a lot. But do you still have to measure the focal object distance to get crisp focus and do you have to meter the light to operate the iris? Thanks again.

  12. What extra steps need to be taken when using a manual lens with an XL1 as opposed to the standard point and shoot, such as:

    • Measuring focal distance
    • Light metering
    • Follow focus
    • Or anything else I might be overlooking

    Is this process something that one person can handle? Also, is the more shallow depth of field more noticable over the standard DV lens? Thanks a lot.

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