DV-L Sat, 26 May 2001 Volume 1 : Number 867
In this issue:
Canopus MPEG card
Re: DV Headcleaning?
RE: Contrast ratio of Mini DV
Re: DV Headcleaning?
Re: what is the zebra?
RE: what is the zebra?
Re: Using 100 zebra (v 70, 80, etc)
Firewire Switchers
Re: Canopus MPEG card
Re: Using 100 zebra (v 70, 80, etc)
Dsr 11 or DSR 20?
Re: Firewire Switchers
SDI With Embedded Audio to-from 1394
Editing MPEG 1
Re: Dsr 11 or DSR 20?
Re: Dsr 11 or DSR 20?
RE: DV Headcleaning?
Re: what is the zebra?
RE: what is the zebra?
Re: Using 100 zebra (v 70, 80, etc)
Re: Dsr 11 or DSR 20?
XL1 Owners: Cooke Primes lens available for XL1
Quicktime 5 and AE question
RE: SDI With Embedded Audio to-from 1394
Re: XL1 Owners: Cooke Primes lens available for XL1
PD-150 adjustment?
can mpeg1 be encoded in real video??
Re: Dsr 11 or DSR 20?
Re: Dsr 11 or DSR 20?
Re: Dsr 11 or DSR 20?
Re: PD-150 adjustment?
RE: PD-150 adjustment?
Re: XL1 Owners: Cooke Primes lens available for XL1
Re: Quicktime 5 and AE question
Re: Quicktime 5 and AE question
RE: XL1 Owners: Cooke Primes lens available for XL1
Re: XL1 Owners: Cooke Primes lens available for XL1
Re: XL1 Owners: Cooke Primes lens available for XL1
Re: XL1 Owners: Cooke Primes lens available for XL1
Mics for People Around a Table?
Re: Mics for People Around a Table?
Combining Video and Powerpoint
Unusual artifacting? head cleaning?
Re: DV Headcleaning?
RE: DV Head cleaning?
A too faded image with Sony PC5.
RE: DV Headcleaning?
solar chargers for Canon XL1?
Re: solar chargers for Canon XL1?
Re: Unusual artifacting? head cleaning?
Re: Combining Video and Powerpoint
Re: PD-150 adjustment?
Re: PD-150 adjustment?
Re: Combining Video and Powerpoint
Re: Using 100 zebra (v 70, 80, etc)
Re: Dsr 11 or DSR 20?
Re: Combining Video and Powerpoint
Re: Quicktime 5 and AE question
Re: Unusual artifacting? head cleaning?
Basic IE 1394 Hub Questions
Re:PREMIERE FLOATING OBJECT
Re: Dsr 11 or DSR 20?
Re: Unusual artifacting? head cleaning?
----------------------------------------------------------------------
Date: Fri, 25 May 2001 16:06:58 +0800
From: Randy Quimpo
To: DV-L@dvcentral.org
Subject: Canopus MPEG card
Message-ID:
Hi fellows!
Has anyone tried the Canopus MPEG daughter card? There are two versions (I
think but I may be wrong) - one made for Storm, and one made for the RexRT.
Is the quality of the MPEG output by this card better than what I can
achieve with a Panasonic MPEG plug-in? Or is it the same, only faster? And
does it REALLY output in real time?
regards
Randy Quimpo
------------------------------
Date: Fri, 25 May 2001 09:18:18 +0100
From: "BODENHAM GARRY"
To: DV-L@dvcentral.org
Subject: Re: DV Headcleaning?
Message-ID: <3B0E235A.12673.AAC2B@localhost>
Have you been switching brands? Stick to one brand, preferably a
dry lubricant type ie. Panasonic. I had a lot of trouble recently with a
batch of Fuji tapes.
Garry Bodenham, University of Greenwich, UK.
------------------------------
Date: Fri, 25 May 2001 16:36:55 +0800
From: Randy Quimpo
To: DV-L@dvcentral.org
Subject: RE: Contrast ratio of Mini DV
Message-ID:
Hi Kamil
I think you are confusing the issue - mini DV is only the recording medium
and doesn't really know what image is being recorded on it. Contrast range,
however, is a function of the camera block - the image acquisition part of
the camera. Maybe your question should be what is the contrast range of
typical NTSC mini-DV cameras?
Randy Quimpo
-----Original Message-----
From: Kamil [mailto:polishkamil@home.com]
Subject: Contrast ratio of Mini DV
Hello I don't know if this is the proper place to do a post for DV-L but i
am assuming it is. Does eny one know the contrast ratio of NTSC mini-DV.
Thanks
------------------------------
Date: Fri, 25 May 2001 02:06:34 -0700
From: gdp
To: DV-L@dvcentral.org
Subject: Re: DV Headcleaning?
Message-ID: <3B0E209A.4D54@ixpres.com>
> best method and frequency for DV headcleaning?
Less is better in this case. Always carry a means of cleaning your
heads when you're shooting.
What brand and grade of tape are you using?
I use nothing but Maxcell (Hi8 in a Sony D8 format) )in one camera and
Panasonic (miniDV in a JVC DV500)in the other. I have never had a head
clog in either nor have they ever been cleaned in over a year of
frequent use.
Gary Packman
------------------------------
Date: Fri, 25 May 2001 02:26:36 -0700
From: gdp
To: DV-L@dvcentral.org
Subject: Re: what is the zebra?
Message-ID: <3B0E254C.74EF@ixpres.com>
> ah, I see, so the zebra tells you where the brightest spots of the
> frame are. What about contrast? Is there any way to find the darkest
> spots without relying on the viewfinder?
Most cameras that have zebra capability also allow you to set the
reference where ever you want it. Set to 70-80 you get reliable skin
exposures. Set to zero you wil get releiable black exposures which of
course will turn everything over 10 or 20 white. Don't know why you'd
want to do this. Using the zebra pattern also makes it very easy to
keep a consistent exposure under changing lighting conditions. With a
little practice you'll be able to outdo the auto exposure controls every
time.
Gary Packman
------------------------------
Date: Fri, 25 May 2001 10:26:43 +0100
From: "Perry"
To: "DV-L"
Subject: RE: what is the zebra?
Message-ID:
The original zebra (on broadcast cameras) was set to Japanese skin tone
levels of 70% luminance. The idea was to expose so that the requisite part
of a face had the pattern showing. I always changed my zebra level to 100%
and exposed so that the brightest object that I wanted to keep out of the
clipper was set there. This would often be a white shirt (I did a lot of
corporates).
Modern broadcast cameras usually have two adjustable zebra patterns, so you
can have your cake and eat it! Consumer based cameras that feature a zebra
are often of a single fixed value and they need to be calibrated to be of
real use.
Perry Mitchell
Video Consultant
http://www.perrybits.co.uk
------------------------------
Date: Fri, 25 May 2001 02:45:32 -0700
From: gdp
To: DV-L@dvcentral.org
Subject: Re: Using 100 zebra (v 70, 80, etc)
Message-ID: <3B0E29BC.7F4D@ixpres.com>
> In various discussions here, a couple of people have said they prefer
> 100 (%, IRE) zebra displays to others (70, 80, 90 % or IRE). Could
> anyone elaborate on how they use 100 IRE zebra? It doesn't seem
> useful compared to 80 IRE to me, but I'd like to find out.
Good question, and one I've always wondered about too. With zebra set
to 100 all you know is what is overexposed. You could stop down to
remove the zebra knowing that nothing will be overexposed, but what if
the light level drops? The *presence* of the zebra pattern is where the
value is, not the absence thereof.
Gary Packman
------------------------------
Date: 25 May 2001 11:28:00 +0100
From: Bevis R W King
To: dv-l@dvcentral.org
Subject: Firewire Switchers
Message-ID: <990786480.22239.0.camel@terreis.ee.surrey.ac.uk>
Big thanks to Adam Wilt and Bob Walker for pointing me in the direction
of the Ocean Matrix products on www.markertek.com. I could have sworn
there was nothing of the kind there when I looked a few weeks ago!
Anyway Ocean Matrix have a web site at www.oceanmatrix.com which
although basic allows download of docs on each of their products.
Looks like there are some real solutions out there... Thanks guys!
Regards, Bevis.
------------------------------
Date: Fri, 25 May 2001 08:10:39 -0400
From: "Walt"
To:
Subject: Re: Canopus MPEG card
Message-ID: <012201c0e513$bc2ed8e0$6401a8c0@design1>
Randy,
I have the MPEG card for the DVRexRT and the big difference for me was the
speed of conversion. I haven't used it for MPEG 2 yet but with conversions
to MPEG 1 it was not real-time. It turned out being about 2x in my case but
there was a lot of rescaling going on as well as the compression. It's still
much faster than a 10x - 20x software compression. The other nice feature is
that you can export to MPEG directly from the Premiere Timeline so when your
projects complete it just becomes the final step. I hope to get a new DVD
player soon and Spruce-Up so I can try the MPEG 2 DVD program on CD-R media
process until the DVD-R fight settles down and a clear winner emerges.
Walt
----- Original Message -----
From: "Randy Quimpo"
To:
Sent: Friday, May 25, 2001 4:06 AM
Subject: Canopus MPEG card
>
> Hi fellows!
>
> Has anyone tried the Canopus MPEG daughter card? There are two versions (I
> think but I may be wrong) - one made for Storm, and one made for the
RexRT.
> Is the quality of the MPEG output by this card better than what I can
> achieve with a Panasonic MPEG plug-in? Or is it the same, only faster? And
> does it REALLY output in real time?
>
> regards
>
> Randy Quimpo
------------------------------
Date: Fri, 25 May 2001 05:31:59 -0700 (PDT)
From: Martin Heffels
To: dv-l@dvcentral.org
Subject: Re: Using 100 zebra (v 70, 80, etc)
Message-ID: <200105251231.f4PCVxi89980@newsguy.com>
At Fri, 25 May 2001 02:45:32 -0700, you wrote
>> In various discussions here, a couple of people have said they prefer
>> 100 (%, IRE) zebra displays to others (70, 80, 90 % or IRE). Could
>> anyone elaborate on how they use 100 IRE zebra? It doesn't seem
>> useful compared to 80 IRE to me, but I'd like to find out.
>
>
>Good question, and one I've always wondered about too. With zebra set
>to 100 all you know is what is overexposed. You could stop down to
>remove the zebra knowing that nothing will be overexposed, but what if
>the light level drops? The *presence* of the zebra pattern is where the
>value is, not the absence thereof.
For a camera with zebra @ 100, if you want correctly exposed faces, you can
hold a whitecard in front of the subject's face, adjust exposure till zebra
shows, then close again 1/2 stop.
cheers
-martin-
------------------------------
Date: Fri, 25 May 2001 09:26:18 -0400
From: "Walt & Sue Johnston"
To:
Subject: Dsr 11 or DSR 20?
Message-ID: <3B0E253A.2609.307D7E@localhost>
I know the DSR-11 reads & writes mini-dv tapes, does the DSR-20
also?
Walt
_________________________________________________________
Walter & Susan Johnston
OMF International
Kaagapay Video Ministry
"Training the Filipino Church Thru Video"
2250 Loucks Rd., York, PA 17404
Phone (717) 767-5118
www.amdg.com.ph/members/kaagapay
------------------------------
Date: Fri, 25 May 2001 09:35:39 -0400
From: jmerser
To: DV-L@dvcentral.org
Subject: Re: Firewire Switchers
Message-ID:
>Big thanks to Adam Wilt and Bob Walker for pointing me in the direction
>of the Ocean Matrix products on www.markertek.com. I could have sworn
>there was nothing of the kind there when I looked a few weeks ago!
>
>Anyway Ocean Matrix have a web site at www.oceanmatrix.com which
>although basic allows download of docs on each of their products.
>
>Looks like there are some real solutions out there... Thanks guys!
>
>Regards, Bevis.
Hi Bevis,
If you end up buying one of these units, would you be so kind to share with us
the unit's performance?
Thanks
jmerser
------------------------------
Date: Fri, 25 May 2001 08:48:02 -0500
From: Don Smith
To:
Subject: SDI With Embedded Audio to-from 1394
Message-ID:
I need to take an SDI signal WITH EMBEDDED AUDIO into my Mac using Firewire
and the DV codec.
There are several converters on the market, but none, to my knowledge,
convert the embedded audio in the SDI signal. They all have seperate AES/EBU
ports which are useless for my needs. My source embeds the audio into the
SDI stream only.
I see the new Sony DSR 1800 has SDI in and Firewire out. Does this machine
transcode in real time, and if so, does it transcode the embedded audio in
the SDI stream?
I see that on the DSR-2000 page, that machine will not play DVCPro down the
Firewire link, but this warning is not on the DSR-1800 page. One of the
features that attracts my attention for the DSR-1800 is the playback
capability of DV, DVCam and DVCPro, but if it can't play DVCPro down the
Firewire link, then its useless for my needs.
Any of you have experience/knowledge of this?
Don Smith
NewsVideo.com
mailto:don@newsvideo.com
------------------------------
Date: Fri, 25 May 2001 09:55:36 -0400
From: jmerser
To: DV-L@dvcentral.org
Subject: Editing MPEG 1
Message-ID:
Hey L,
Another question for the sages . . . or experienced ;)
We have a couple of Terapin video CD burns here at the U. of Mich.
Basically this is a stand
alone unit that takes audio/video in and burns a MPEG 1 CD in real time.
A few of the students, after the fact, realize that things need to be altered,
and want to then edit their CDs (the file). Is there any software
can actually grab this large mpeg 1 video
file, edit it down (I assume not w/ frame accuracy) and save it off
as either a shorter mpeg 1
file, a quicktime, or avi? The only solution I know of, takes the
whole file and drops play markers,
but DOES NOT actually shorten the file's size. We need to toss out
those extra/useless bytes.
jmerser
------------------------------
Date: Fri, 25 May 2001 09:01:42 -0500 (CDT)
From: Vidiot
To: DV-L@dvcentral.org
Subject: Re: Dsr 11 or DSR 20?
Message-ID: <200105251401.JAA22308@mrvideo.vidiot.com>
>I know the DSR-11 reads & writes mini-dv tapes, does the DSR-20
>also?
Read only.
MB
--
e-mail: vidiot@vidiot.com
Bart: Hey, why is it destroying other toys? Lisa: They must have
programmed it to eliminate the competition. Bart: You mean like
Microsoft? Lisa: Exactly. [The Simpsons - 12/18/99]
Visit - URL:http://www.vidiot.com/ (Your link to Star Trek and UPN)
------------------------------
Date: Fri, 25 May 2001 10:08:07 -0400
From: "Walt"
To:
Subject: Re: Dsr 11 or DSR 20?
Message-ID: <017c01c0e524$5e2c0360$6401a8c0@design1>
The DSR-20 writes DVCAM tapes only. It will playback DV and it will use both
full size and mini cassette sizes. The DSR-11 will write both DV and DVCAM.
Walt
----- Original Message -----
From: "Walt & Sue Johnston"
To:
Sent: Friday, May 25, 2001 9:26 AM
Subject: Dsr 11 or DSR 20?
> I know the DSR-11 reads & writes mini-dv tapes, does the DSR-20
> also?
>
> Walt
>
>
> _________________________________________________________
> Walter & Susan Johnston
> OMF International
> Kaagapay Video Ministry
> "Training the Filipino Church Thru Video"
> 2250 Loucks Rd., York, PA 17404
> Phone (717) 767-5118
------------------------------
Date: Fri, 25 May 2001 07:40:24 -0700
From: "Paul Michel"
To:
Subject: RE: DV Headcleaning?
Message-ID: <00f201c0e528$a2f80670$4fc41f0a@arrow.com>
I've been using the Panasonic DV60 since I bought the camera. Based on
several recommendations, I'll just continue to use this one. I did have one
tape that was squeaky (loud enough to be picked up by the camera mic) for
about 20 mins. This is my first experience with DV. My last camera was full
size VHS. Got a whole lot to learn...
Thanks,
Paul
> -----Original Message-----
> From: gdp [mailto:garypackm@ixpres.com]
> Sent: Friday, May 25, 2001 2:07 AM
> To: DV-L@dvcentral.org
> Subject: Re: DV Headcleaning?
>
>
> > best method and frequency for DV headcleaning?
>
> Less is better in this case. Always carry a means of cleaning your
> heads when you're shooting.
>
> What brand and grade of tape are you using?
>
> I use nothing but Maxcell (Hi8 in a Sony D8 format) )in one camera and
> Panasonic (miniDV in a JVC DV500)in the other. I have never
> had a head
> clog in either nor have they ever been cleaned in over a year of
> frequent use.
>
> Gary Packman
> -- (cut off when replying)-----------------
> This list is made possible by Lifetime DV-L Benefactors such
> as http://www.promax.com, http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the contributions of
> its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> DV-L archive at
> http://groups.yahoo.com/group/DV-List/messages
>
------------------------------
Date: Fri, 25 May 2001 07:49:52 -0700 (PDT)
From: john markert
To: DV-L@dvcentral.org
Subject: Re: what is the zebra?
Message-ID: <20010525144952.92834.qmail@web11502.mail.yahoo.com>
By "reliable skin exposure" I'm assuming you're
referring to average "white" caucasian skin tone. If
your subject is Latino with olive-tan skin tone or
Indian with dark ash skin tone or fair with almost
white skin tone, the 70% zebra can be misleading,
right?
--- gdp wrote:
> > ah, I see, so the zebra tells you where the
> brightest spots of the
> > frame are. What about contrast? Is there any way
> to find the darkest
> > spots without relying on the viewfinder?
>
> Most cameras that have zebra capability also allow
> you to set the
> reference where ever you want it. Set to 70-80 you
> get reliable skin
> exposures. Set to zero you wil get releiable black
> exposures which of
> course will turn everything over 10 or 20 white.
> Don't know why you'd
> want to do this. Using the zebra pattern also makes
> it very easy to
> keep a consistent exposure under changing lighting
> conditions. With a
> little practice you'll be able to outdo the auto
> exposure controls every
> time.
>
> Gary Packman
> -- (cut off when replying)-----------------
> This list is made possible by Lifetime DV-L
> Benefactors such as http://www.promax.com,
> http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the
> contributions of its members.
>
> To contribute money:
> http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> DV-L archive at
http://groups.yahoo.com/group/DV-List/messages
=====
-=john markert
www.accelvideo.com
"Read with the same wit with which the author hath writ."
-Alexander Pope
__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/
------------------------------
Date: Fri, 25 May 2001 07:52:46 -0700 (PDT)
From: john markert
To: DV-L@dvcentral.org
Subject: RE: what is the zebra?
Message-ID: <20010525145246.68455.qmail@web11503.mail.yahoo.com>
If you were shooting a scene with no white, e.g., a
machine, would you insert a white card into the scene
and expose based on zebra coming off the white card?
--- Perry wrote:
> The original zebra (on broadcast cameras) was set to
> Japanese skin tone
> levels of 70% luminance. The idea was to expose so
> that the requisite part
> of a face had the pattern showing. I always changed
> my zebra level to 100%
> and exposed so that the brightest object that I
> wanted to keep out of the
> clipper was set there. This would often be a white
> shirt (I did a lot of
> corporates).
> Modern broadcast cameras usually have two adjustable
> zebra patterns, so you
> can have your cake and eat it! Consumer based
> cameras that feature a zebra
> are often of a single fixed value and they need to
> be calibrated to be of
> real use.
> Perry Mitchell
> Video Consultant
> http://www.perrybits.co.uk
>
> -- (cut off when replying)-----------------
> This list is made possible by Lifetime DV-L
> Benefactors such as http://www.promax.com,
> http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the
> contributions of its members.
>
> To contribute money:
> http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> DV-L archive at
http://groups.yahoo.com/group/DV-List/messages
=====
-=john markert
www.accelvideo.com
"Read with the same wit with which the author hath writ."
-Alexander Pope
__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/
------------------------------
Date: Fri, 25 May 2001 11:28:01 -0400
From: Wayne Folta
To: DV-L@dvcentral.org
Subject: Re: Using 100 zebra (v 70, 80, etc)
Message-ID:
>For a camera with zebra @ 100, if you want correctly exposed faces, you can
>hold a whitecard in front of the subject's face, adjust exposure till zebra
>shows, then close again 1/2 stop.
OK, I think I'm finally getting it. The main difference between say
80 IRE and 100 IRE zebra is *when* it has meaning.
With 100 IRE, you use a white card, or maybe you just open up
exposure until the highlights of a face (or whatever your main
subject is) are stripped, then you scale back a number of stops
depending on your knowledge of the camera and what you want to
accomplish.
While the tape is recording, it really doesn't matter what part of
the frame is stripped, since that's not the point. 100 IRE is just a
reference.
With, say, 80 IRE, you might set the exposure so that the highlights
of your primary subject (say a face) are stripped so they are bright
but still retain some color.
While the tape is recording, it does matter what part of the frame is
stripped. If it changes for some reason, you know that your primary
subject's exposure may have changed.
So it seems to me that 80 (or other custom IRE) is useful to monitor
while shooting, but 100 IRE (or 0 IRE for that matter) is useful as a
reference before shooting begins.
Does this sound reasonable?
--
Wayne Folta
wfolta@netmail.to
------------------------------
Date: Fri, 25 May 2001 09:27:10 -0700
From: Mark Wade
To:
Subject: Re: Dsr 11 or DSR 20?
Message-ID:
Vidiot;
While on this subject, do you know if the dsr-30 has manual audio control
over an analog input signal? Or is it AGC like the dsr-11? -mark.
> From: Vidiot
> Reply-To: DV-L@dvcentral.org
> Date: Thu, 24 May 2001 22:28:49 -0500 (CDT)
> To: DV-L@dvcentral.org
> Subject: Re: Dsr 11 or DSR 20?
>
>>> If you are going to use it as a feeder deck for FCP, go with the DSR-11,
>>> since it will play either format. Don't use it to record, since you do not
>>> have control over the audio levels and there is no timecode displayed on
>>> the front panel. But, as a feeder it is perfect. SNIP
>>
>> Do I have this right?
>>
>> If the audio (in or out) is by 1394, the levels are unchanged by the
>> DSR-11.
>
> Sorry, I should have said to not use it to record composite video/audio.
>
> You are indeed correct. The audio level I am referring to only takes
> place when recording via the video/audio line inputs, i.e., analog mode.
> Playback, either analog or firewire, or firewire recording, uses the
> audio levels of what is on the tape, or coming in over the firewire.
>
>> If the audio is analog (in) the DSR-11 uses AGC to control the level.
>
> Correct.
>
>> If the audio is analog (out) the level is either that set by the 1394
>> source or that set by the DSR-11 AGC for recording an analog source.
>
> Correct.
>
>> If the above is correct then the DSR-11 is perfectly acceptable for use
>> in a DV editing station (Canopus, FCP, Avid Express etc.) where all in
>> and out to the DSR-11 is through 1394.
>
> Correct again. That is why it is a perfect feeder deck. I have two
> DSR-20s, both connectable to the computer via firewire. I need them
> because I record tons of analog satellite feeds. Those recordings
> need manual level controls, so that the audio isn't screwed up by the
> AGC.
>
>> If the recorder is used for field or studio recording then the DSR-11
>> offers no audio level control (beyond AGC) so a DSR20 should be used
>> (for audio control).
>
> Correct again.
>
>> Is this a correct view of audio processed by a DSR-11?
>
> Yep. You have a perfect handle on the situation.
>
>> Bill
>
> MB
> --
> e-mail: vidiot@vidiot.com
> Bart: Hey, why is it destroying other toys? Lisa: They must have
> programmed it to eliminate the competition. Bart: You mean like
> Microsoft? Lisa: Exactly. [The Simpsons - 12/18/99]
> Visit - URL:http://www.vidiot.com/ (Your link to Star Trek and UPN)
> -- (cut off when replying)-----------------
> This list is made possible by Lifetime DV-L Benefactors such as
> http://www.promax.com, http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> DV-L archive at http://groups.yahoo.com/group/DV-List/messages
------------------------------
Date: Fri, 25 May 2001 12:49:00 -0400
From: jmerser
To: DV-L@dvcentral.org
Cc: chris@dvinfo.net
Subject: XL1 Owners: Cooke Primes lens available for XL1
Message-ID:
Hi XL1ers,
jmerser here with exciting news.
Good news and bad news. ZRG, a British company that specialized in film gear,
and also in cool XL1 stuff is now offering an adapter to enable the
use of Cooke
film lens on an XL1. Cooke is right up there with Zeiss in the
optics department,
and their lens are used on many of todays block busters. This means
you can hook your
XL1 to and get the the same angle of view and depth of field as a
35mm camera. No 7X problems
like those when using the canon EOS adapter.
Cooke makes all kinds of prime lens and a couple of zooms too.
That's the good news, and I've been waiting for someone to do this for awhile.
The bad news is when I went to see what a Cooke prime costs, I my jaw
hit the floor.
$11,000.00-$15K each. The zoom is triple that! I didn't expect them
to be a grand
each, but $11K?! WOW.
www.zrg.com is also going to be at the CineGear Expo June 2. If I
were out in LA, I'd email
Les and see what these lens can do.
Any takers?
email les@zgc.com and report findings to DV-L
>>>>>>>>>>>>>>>>>>>>>>>>
Hello Everyone,
ZGC and Cooke Optics Limited have a booth at CineGear Expo this year along
with over 30 other companies, including Canon and Otto Nemenz.
We will also be available at ShowBiz Expo on Thursday and Friday. To see
ZGC and Cooke Optics Limited there, please contact me via e-mail
(les@zgc.com), cell phone (201-715-0642 in NJ) or leave word at the BKSTS
stand in the British Pavilion at Showbiz.
New Product Announcement
P&S Technik Mini 35DV adapter for the Canon XL-1. This adapter allows the
XL-1 to use 35mm motion picture lenses while RETAINING the original
angle-of-view and depth-of-field. ZGC is pleased to be the distributor.
CineGear Expo
Saturday, June 2, 10 a.m. to 6 p.m.
Warner Brothers Studios
Complimentary shuttle bus to and from the Los Angeles Convention Center,
available from 11 a.m. to 5 p.m. (Pick-up at the corner of Pico and
Figueroa.)
Complementary parking
Hosted BBQ Lunch and Bar
Free Admission with Invitation Only
Pre-register on-line at www.cinegearexpo.com or e-mail us with your current
address so we may send an invitation to you my mail. Or you can pick up an
invitation from us at the BKSTS stand in the British Pavilion at ShowBiz
Expo.
If you can't get over to CineGear on Saturday, leave a message for Cooke
Optics or ZGC at the BKSTS stand at ShowBiz Expo on Thursday or Friday and
we will find you at ShowBiz during your "walking around" time.
Featured ZGC Products at CineGear
Cooke 21mm and 135mm S4 Prime lenses.
Canon HD-EC zoom lenses.
OpTex HD Prime lenses.
OpTex Super 16 Cine lenses.
Optex PL to XL Mechanical Adapter for mounting 16mm and 35mm lenses to
the XL-1 (magnification factor approximately 7x for 35mm and 2x for
16mm).
P&S PL to XL Optical Adapter for mounting 35mm film lenses to the Canon
XL-1 digital video camcorder. This adapter gives the XL-1 the same
depth-of-field and angle of view as 35mm.
We look forward to seeing you there,
------------------------------
Date: Fri, 25 May 2001 13:01:39 -0400
From: Kat Dalton
To: DV-L@dvcentral.org
Subject: Quicktime 5 and AE question
Message-ID: <3B0E8FF2.164C@clarityconnect.com>
I installed QT 5.0.1 yesterday so I could try the new Apple DV codec.
When I rendered a clip with the codec in AE 4.1, the image became very
washed out (on both NTSC and computer monitor). I assume this is because
the codec was clipping the luminance range. Is there someplace in AE
where I can tell the codec to use full luminance range?
In output module > format options > compression settings, there's an
options box where I can specify native DV range or whatever when I use
Radius SoftDV-NTSC codec, but if I use Apple DV-NTSC codec the options
box disappears.
I read on Adam Wilt's page that you can switch off white clipping in QT
4.1.2 and up in FCP. . . surely this isn't limited to just FCP? BTW, I
don't have FCP or any other editing software than can use QT 5. I'm
experimenting with the codec because I'm deciding if I want to get FCP.
Thanks,
Kat Dalton
------------------------------
Date: Fri, 25 May 2001 13:15:42 -0400
From: "Crittenden, Jan"
To: "'DV-L@dvcentral.org'"
Subject: RE: SDI With Embedded Audio to-from 1394
Message-ID: <8FF8AAED9EE8D411836F0003472487A4AE79DC@mecasecu007.meca.panasonic.com>
None of the Sony machines will play DVCPRO down the firewire link. The only
machines that will play DVCPRO and DVCAM out of the Firewire i/o today is
the AJ-D230 or AJ-D250 with 1394 cards. There is a machine coming that may
be the dream machine for you, called the AJ-D455. It had SDI and 1394 as
options, so you could answer both parts of your question. This machine will
start to deliver in August.
FWIW,
Jan
> I need to take an SDI signal WITH EMBEDDED AUDIO into my Mac
> using Firewire
> and the DV codec.
>
> There are several converters on the market, but none, to my knowledge,
> convert the embedded audio in the SDI signal. They all have
> separate AES/EBU
> ports which are useless for my needs. My source embeds the
> audio into the
> SDI stream only.
>
> I see the new Sony DSR 1800 has SDI in and Firewire out. Does
> this machine
> transcode in real time, and if so, does it transcode the
> embedded audio in
> the SDI stream?
>
> I see that on the DSR-2000 page, that machine will not play
> DVCPro down the
> Firewire link, but this warning is not on the DSR-1800 page.
> One of the
> features that attracts my attention for the DSR-1800 is the playback
> capability of DV, DVCam and DVCPro, but if it can't play
> DVCPro down the
> Firewire link, then its useless for my needs.
>
> Any of you have experience/knowledge of this?
>
> Don Smith
> NewsVideo.com
> mailto:don@newsvideo.com
>
> -- (cut off when replying)-----------------
> This list is made possible by Lifetime DV-L Benefactors such
> as http://www.promax.com, http://www.videoguys.com,
http://www.panasonic.com/broadcast and the contributions of its members.
To contribute money: http://www.computervicestore.com/dvl.html
All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
DV-L archive at http://groups.yahoo.com/group/DV-List/messages
------------------------------
Date: Fri, 25 May 2001 12:22:23 -0500
From: Danny Grizzle
To:
Subject: Re: XL1 Owners: Cooke Primes lens available for XL1
Message-ID:
on 5/25/01 11:49 AM, jmerser at jmerser@pop3.concentric.net wrote:
> Good news and bad news. ZRG, a British company that specialized in film gear,
> and also in cool XL1 stuff is now offering an adapter to enable the
> use of Cooke film lens on an XL1.
This is a fairly ludicrous mismatch - maybe enough to attract Anna Nicole
Smith as spokesman for the ad campaign. Then again, the implied "British
engineering" explains a lot of why something like this has happened.
> This means you can hook your XL1 to and get the the same angle
> of view and depth of field as a 35mm camera.
Not even remotely true.
Angle of view and depth of field are properties of optical physics, not
patent properties of brands.
> That's the good news, and I've been waiting for someone to do this for awhile.
> The bad news is when I went to see what a Cooke prime costs, I my jaw
> hit the floor. $11,000.00-$15K each. The zoom is triple that!
Ferrari, Lamborghini, and Lotus are not priced with the Hundai's, either.
When it comes to broadcast glass, you'd be surprised. Canon's DigiSuper
lenses run $100K or more.
From our ant's eye view, Canon is the big corporate top dog in broadcast
lenses. But if some corporate raider ever does a takeover, the broadcast
division will be toast in the first nanosecond. The revenue of the entire
broadcast operation amounts to only a fraction of 1% of Canon's annual
revenue. The whole division could vanish and not even cause a blip in their
annual report.
> www.zrg.com is also going to be at the CineGear Expo June 2. If I
> were out in LA, I'd email Les and see what these lens can do.
I'm sure all will be revealed in side by side comparisons shot on the Canon
XL1.
On the other hand, I'm not affected either way. I'd like to get involved,
but I think I will spend a little extra time and money on my lighting
instead.
Danny Grizzle
------------------------------
Date: Fri, 25 May 2001 13:24:50 EDT
From: NewsmanSGW@aol.com
To: DV-L@dvcentral.org
Subject: PD-150 adjustment?
Message-ID: <67.147f7e69.283fef62@aol.com>
Is there an adjustment to the PD-150 that can be made to stop the flicker of
computer monitors that are in the shot, usually in the bg during interviews.
(Yeah, I know I can turn off the monitors, but just curious is I could do
anything BUT that.)
Thanks!
------------------------------
Date: Fri, 25 May 2001 14:21:36 -0300
From: "Hamel, Stephane (WHSCC)"
To: "DV-L (E-mail)"
Subject: can mpeg1 be encoded in real video??
Message-ID:
I have a bunch of mpeg1 files that I was asked to re-encode into Real video
files.
Someone has a way of doing this?
I wonder if real encoder will open mpeg1 files?
Stephan
------------------------------
Date: Fri, 25 May 2001 11:26:33 -0600
From: Steve Slocomb
To: DV-L@dvcentral.org
Subject: Re: Dsr 11 or DSR 20?
Message-ID: <4.3.2.7.2.20010525112135.00b07320@mail.montana.com>
At 09:27 AM 5/25/01 -0700, you wrote:
>Vidiot;
>
>While on this subject, do you know if the dsr-30 has manual audio control
>over an analog input signal? Or is it AGC like the dsr-11? -mark.
>
The DSR30 has balance and manual audio level controls on the hardwired edit
controller.
BTW, having the VU readout on the DSR20 is very handy to know which
tracks the sound is on: 1,2,3,or 4 (the audio monitor is switchable between
1/2 or 3/4 ) and to visually see which ones have the best levels.
Steve Slocomb
------------------------------
Date: Fri, 25 May 2001 10:31:46 -0700
From: Charles F. McConathy
To:
Subject: Re: Dsr 11 or DSR 20?
Message-ID: <1010525103147.497a979.3f774447.ASIP6.3.1.201988@mail.promax.com>
Vidiot Wrote
>>>>Using the remote you can set time code to show on your PAL or NTSC
>>>>monitor...in fact you can view all the meta data that is recorded in the
>>>>camcorder such as exposure settings, date, etc.
>>>>Charles F. McConathy, President
>>>
>>>While this is true, if you are making a dub of a tape, you don't want the
>>>time counter on. So, in this situation, you have no idea where you are
>>>on the tape.
>>
>>TC in this case does not have to show on a tape unless you want it to by
>>passing it through a monitor.
>
>The problem is that the DSR-11 doesn't have a separate monitor output,
>or so I've been told. Based on that, the only way that you can get
>timecode is to turn it on using the only output available and if you need
>to record that output, you can't have the TC on. Therefore, you have
>no idea where you are on the tape.
>
>MB
TC does not burn on a tape unless you pass it through a monitor.
------------------------------
Date: Fri, 25 May 2001 10:34:28 -0700
From: Charles F. McConathy
To:
Subject: Re: Dsr 11 or DSR 20?
Message-ID: <1010525103428.497cf6b.3f774447.ASIP6.3.1.202030@mail.promax.com>
Vidiot Wrote
>>I know the DSR-11 reads & writes mini-dv tapes, does the DSR-20
>>also?
>
>Read only.
>
>MB
The DSR-11 will read and write mini and standard sized cassettes both as
DV and DVCAM.
It is user selectable as to writes as DV or DVCAM. You can place a 184
minute DVCAM tape and set it to record as DV and place 4.5 hours on it.
It also auto detects PAL or NTSC and reads or writes either.
------------------------------
Date: Fri, 25 May 2001 12:34:26 -0500
From: "Steve Gregory"
To:
Subject: Re: PD-150 adjustment?
Message-ID: <005401c0e540$f2bb4240$24e70e39@whq.ual.com>
I've had some success at adjusting the shutter speed down, it tends to work
OK at around 1/30 second.
Steve
----- Original Message -----
From:
To:
Sent: Friday, May 25, 2001 12:24 PM
Subject: PD-150 adjustment?
> Is there an adjustment to the PD-150 that can be made to stop the flicker
of
> computer monitors that are in the shot, usually in the bg during
interviews.
> (Yeah, I know I can turn off the monitors, but just curious is I could do
> anything BUT that.)
>
> Thanks!
> -- (cut off when replying)-----------------
> This list is made possible by Lifetime DV-L Benefactors such as
http://www.promax.com, http://www.videoguys.com,
http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
> DV-L archive at http://groups.yahoo.com/group/DV-List/messages
------------------------------
Date: Fri, 25 May 2001 18:37:11 +0100
From: Mark Grant
To: DV-L@dvcentral.org
Subject: RE: PD-150 adjustment?
Message-ID: <0182399E7179D211824400A0C9EA408A029C06F7@exchuk02.3dlabs.com>
> From: NewsmanSGW@aol.com [mailto:NewsmanSGW@aol.com]
> Is there an adjustment to the PD-150 that can be made to stop
> the flicker of
> computer monitors that are in the shot, usually in the bg
> during interviews.
Yes. Find out the refresh rate of the monitor, and set the shutter speed to
an integral multiple of that value (e.g. 75Hz -> 1/75 or 1/25th shutter). If
you can't set the shutter speed to a suitable value, then see if you can
change the refresh rate to match a shutter speed the camera supports.
This will work for stationary shots as it ensures that every screen line on
the monitor is updated the same number of times on each frame you shoot; the
flicker occurs when some lines are updated more than others in a single
frame. However, you will still get tearing if you move the camera or the
computer display is changing rapidly.
Mark
------------------------------
Date: Fri, 25 May 2001 13:54:47 -0400
From: jmerser
To: DV-L@dvcentral.org
Subject: Re: XL1 Owners: Cooke Primes lens available for XL1
Message-ID:
>on 5/25/01 11:49 AM, jmerser at jmerser@pop3.concentric.net wrote:
>
>> Good news and bad news. ZRG, a British company that specialized
>>in film gear,
>> and also in cool XL1 stuff is now offering an adapter to enable the
>> use of Cooke film lens on an XL1.
>
>This is a fairly ludicrous mismatch - maybe enough to attract Anna Nicole
>Smith as spokesman for the ad campaign. Then again, the implied "British
>engineering" explains a lot of why something like this has happened.
Well, they were the first ones to offer the optex lens for XL1. They also had
that cool night lens too. Is there something else that's ruffled
your feathers?
>
>> This means you can hook your XL1 to and get the the same angle
>> of view and depth of field as a 35mm camera.
>
>Not even remotely true.
But, that's what the saleman, Les@ZRG said :)
>
>Angle of view and depth of field are properties of optical physics, not
>patent properties of brands.
>
>> That's the good news, and I've been waiting for someone to do this
>>for awhile.
>> The bad news is when I went to see what a Cooke prime costs, I my jaw
>> hit the floor. $11,000.00-$15K each. The zoom is triple that!
>
>Ferrari, Lamborghini, and Lotus are not priced with the Hundai's, either.
Ouch. Well, I guess a the "hundai" I shoot with will get me there ;)
>
>When it comes to broadcast glass, you'd be surprised. Canon's DigiSuper
>lenses run $100K or more.
But, an XL1 is NTSC (read old and out of date). IMO, a lens that
cost $11K for a 3K camera isn't
going to do all that many sales, but maybe Hollywood will start using
the XL1 on
more major stuff soon . . . doh!
> >From our ant's eye view, Canon is the big corporate top dog in broadcast
>lenses. But if some corporate raider ever does a takeover, the broadcast
>division will be toast in the first nanosecond. The revenue of the entire
>broadcast operation amounts to only a fraction of 1% of Canon's annual
>revenue. The whole division could vanish and not even cause a blip in their
>annual report.
And . . . what?
>
>> www.zrg.com is also going to be at the CineGear Expo June 2. If I
>> were out in LA, I'd email Les and see what these lens can do.
>
>I'm sure all will be revealed in side by side comparisons shot on the Canon
>XL1.
Though helpful, side by side stills never demonstrates how the moving
video looks itself.
I'd rather have some DV footage of with and without.
>
>On the other hand, I'm not affected either way. I'd like to get involved,
>but I think I will spend a little extra time and money on my lighting
>instead.
>
>Danny Grizzle
But, Danny, I didn't say buy. I asked for a volunteer to go and
check it out and
report back. I still hope one of us does so.
jmerser
------------------------------
Date: Fri, 25 May 2001 13:59:03 -0400
From: Kat Dalton
To: DV-L@dvcentral.org
Subject: Re: Quicktime 5 and AE question
Message-ID: <3B0E9D67.6622@clarityconnect.com>
I wrote:
>
> I installed QT 5.0.1 yesterday so I could try the new Apple DV codec.
> When I rendered a clip with the codec in AE 4.1, the image became very
> washed out (on both NTSC and computer monitor). I assume this is because
> the codec was clipping the luminance range. Is there someplace in AE
> where I can tell the codec to use full luminance range?
I got that reversed. Images should look darker on computer screen if
luminance range clipped to 16-235.
After rendering with QT 5.0.1 Apple DV-NTSC, the images look lighter
than original on both computer screen and via firewire.
I normally use Radius SoftDV-NTSC codec (native DV range) and rendered
images are same darkness as original.
Kat Dalton
------------------------------
Date: Fri, 25 May 2001 11:20:26 -0700
From: Kevin Marks
To: DV-L@dvcentral.org
Subject: Re: Quicktime 5 and AE question
Message-ID:
At 1:59 pm -0400 25/5/01, Kat Dalton wrote:
>I wrote:
>>
>> I installed QT 5.0.1 yesterday so I could try the new Apple DV codec.
>> When I rendered a clip with the codec in AE 4.1, the image became very
>> washed out (on both NTSC and computer monitor). I assume this is because
>> the codec was clipping the luminance range. Is there someplace in AE
>> where I can tell the codec to use full luminance range?
>
>I got that reversed. Images should look darker on computer screen if
>luminance range clipped to 16-235.
>
>After rendering with QT 5.0.1 Apple DV-NTSC, the images look lighter
>than original on both computer screen and via firewire.
>
>I normally use Radius SoftDV-NTSC codec (native DV range) and rendered
>images are same darkness as original.
The QT DV codec assumes that RGB data is 0-255 range, and compresses
this range into the 16-235 luma range that DV uses. If your RGB data
has an already-compressed luma range, it will look wrong with QT's
codec.
------------------------------
Date: Fri, 25 May 2001 19:13:59 +0100
From: Mark Grant
To: DV-L@dvcentral.org
Subject: RE: XL1 Owners: Cooke Primes lens available for XL1
Message-ID: <0182399E7179D211824400A0C9EA408A029C06F9@exchuk02.3dlabs.com>
> From: jmerser [mailto:jmerser@pop3.concentric.net]
> But, an XL1 is NTSC (read old and out of date). IMO, a lens that
> cost $11K for a 3K camera isn't
> going to do all that many sales, but maybe Hollywood will start using
> the XL1 on
> more major stuff soon . . . doh!
It sounds like a good idea to me. Just because a lens costs $11k that
doesn't mean you have to pay $11k to shoot with it; I would imagine that
people would buy the adaptor for their XL-1 and then rent lenses for the
length of the shoot. They might sell a lot of adaptors to XL-1 owners even
if they don't sell any new lenses; indeed, for the first time in my life I
might actually get to see an XL-1 which isn't using the standard lens 8-).
Mark
------------------------------
Date: Fri, 25 May 2001 13:41:34 -0500
From: Danny Grizzle
To:
Subject: Re: XL1 Owners: Cooke Primes lens available for XL1
Message-ID:
on 5/25/01 12:54 PM, jmerser at jmerser@pop3.concentric.net wrote:
>>> Good news and bad news. ZRG, a British company that specialized
>>> in film gear,
>>> and also in cool XL1 stuff is now offering an adapter to enable the
>>> use of Cooke film lens on an XL1.
>>
>> This is a fairly ludicrous mismatch - maybe enough to attract Anna Nicole
>> Smith as spokesman for the ad campaign. Then again, the implied "British
>> engineering" explains a lot of why something like this has happened.
>
> Well, they were the first ones to offer the optex lens for XL1. They also had
> that cool night lens too. Is there something else that's ruffled
> your feathers?
British sports cars. All of them.
But, yes, I still love them.
Oh yeah, everything to do with film sync. Back when I was starting, Super 8
film was the miracle small format. You had all these exotic Japanese,
French, and German Super 8 cameras, plus high end post-production capable
projectors. Also, high fidelity audio cassette recorders, like my Technics
RS-686 DS ($800 or so back in 1976) and some even more esoteric audio
recorders from Grundig.
Leave it to the British cottage film industry to lash together exotic
synchronization gear to adapt a Philips audio cassette recorder running wild
for lip-sync double system film sound.
There is a reason we hear the words "British" and "eccentric" together so
often. Apparently this type of engineering tendency is so marbled into their
cultural complexion that it has taken on an endearing life of its own.
So, more power to this Cooke-to-XL1 adapter. I guess Agent Q needs something
to do in his off time between 007 productions.
No offense, no flame; it's all just a little amusing. But not surprising.
Danny Grizzle
------------------------------
Date: Fri, 25 May 2001 14:57:27 -0400
From: jmerser
To: DV-L@dvcentral.org
Subject: Re: XL1 Owners: Cooke Primes lens available for XL1
Message-ID:
> >> Is there something else that's ruffled your feathers?
>
>British sports cars. All of them.
What? You never had a Jag run smooth for a month? :)
j
------------------------------
Date: Fri, 25 May 2001 15:15:22 -0400
From: "Stephen van Vuuren"
To:
Subject: Re: XL1 Owners: Cooke Primes lens available for XL1
Message-ID: <200105251515.AA774504718@mail.xiveren.com>
As an XL-1 owner, I just don't see this a terribly exciting except for rentals. If I had big collection of Cooke Primes lying around, maybe so.
But I find a combination of the 14X Manual and 3X Lens, with adaptors, covers just about everything except speciality uses (very telephoto) and macro focus.
Plus - does DV have the resolution that Cooke Primes will make appreciable difference optic wise? I find the glass in the Canon lenses excellent as well as the Century Optics adapters. I have heard Cookes flare differently (can't remember if it more or less - I think less - than other lenses).
I wonder if anyone will actually test this.
--
stephen
www.xiveren.com
"It can only be attributable to human error"
-HAL
--
------------------------------
Date: Fri, 25 May 2001 12:24:28 -0700
From: Mitchell Gass
To: DV-L@dvcentral.org
Subject: Mics for People Around a Table?
Message-ID: <5.1.0.14.2.20010525122405.04ae4a50@pop.dnai.com>
I'd like to record 5-6 people who will be working with papers around a
round table and get good sound. Tabletop PZM mics won't work because
they'll be moving papers around on the tabletop, and I'd like a solution
that's less costly than putting wireless mics on everyone and running them
into a mixer. A boompole and operator isn't optimal, either, both because
the speakers will be changing very rapidly and because I'd like to avoid
the distraction of another person moving constantly around the table.
I have a tilt-arm combi boom stand that I can put over the tabletop and
attach microphones to. It would be a few feet above the work surface. Are
there mics with a broad enough pickup pattern and sufficient reach that a
pair of them attached to the stand would do a good job? The VCR I'll be
using has balanced microphone inputs with phantom power.
One last question: If I add to the mix a camera operator with a Sony PD150,
who would move around the table and get shots of people on the other side,
roughly 10 feet away, will a short or long shotgun mounted on the camcorder
give me reasonable if not ideal sound, or is 10 feet just too far? If it
will work, do you have suggestions for reasonably priced shotguns I should
consider?
Thanks for your help!
Mitchell Gass
------------------------------
Date: Fri, 25 May 2001 12:37:21 -0700
From: Karl Lohninger
To:
Subject: Re: Mics for People Around a Table?
Message-ID:
Depending on the size of the table, one or two cardioid (or supercardiod)
condenser mics hanging from above will do it nicely. Height might be like
one to two feet about their heads. Paper rustling in general can be of a
problem though...if possible aks the participants to avoid excessive page
turnings etc.
Regarding your idea using a shotgum mounted on a camera...this wouldn't
sound very good. First, shotguns should be directed from above downward to
get rid of echoes, having them at more or less eye level horizantally
directed at the speaker will generally not give good results and togeteher
with the long distance will make the sound mushy and words hard to
understand. Better to have first class quality mics hanging from above.
Rg, Karl
On 05/25/01 12:24 PM, "Mitchell Gass"
wrote:
> I'd like to record 5-6 people who will be working with papers around a
> round table and get good sound. Tabletop PZM mics won't work because
> they'll be moving papers around on the tabletop, and I'd like a solution
> that's less costly than putting wireless mics on everyone and running them
> into a mixer. A boompole and operator isn't optimal, either, both because
> the speakers will be changing very rapidly and because I'd like to avoid
> the distraction of another person moving constantly around the table.
>
> I have a tilt-arm combi boom stand that I can put over the tabletop and
> attach microphones to. It would be a few feet above the work surface. Are
> there mics with a broad enough pickup pattern and sufficient reach that a
> pair of them attached to the stand would do a good job? The VCR I'll be
> using has balanced microphone inputs with phantom power.
>
> One last question: If I add to the mix a camera operator with a Sony PD150,
> who would move around the table and get shots of people on the other side,
> roughly 10 feet away, will a short or long shotgun mounted on the camcorder
> give me reasonable if not ideal sound, or is 10 feet just too far? If it
> will work, do you have suggestions for reasonably priced shotguns I should
> consider?
>
> Thanks for your help!
>
> Mitchell Gass
------------------------------
Date: Fri, 25 May 2001 15:13:14 -0500
From: "Doug Wise"
To:
Subject: Combining Video and Powerpoint
Message-ID:
I would like to do a training series that would be put on a web site for
people to learn about different topics that would incorporate DV video and
slides from something like PowerPoint.
TEN TV (www.tentv.com) has a product called a Video Portal that seems to
include everything, but their price is quite high. I have been learning
Premiere and would like to use that if at all possible.
How have people incorporated slides and video together to do a training
program? Does anybody have any examples on the web to share?
Doug Wise
dougw@candleman.com
------------------------------
Date: Fri, 25 May 2001 14:05:42 -0700
From: "Lone Orchard Productions"
To:
Subject: Unusual artifacting? head cleaning?
Message-ID:
OK guys,
I have counted to ten several times to calm myself down, and I am usually a
very calm guy.
I am making a new reel and took down a miniDV tape that has a documentary on
it that I edited last year. I would say it has been about 6 months since I
mastered and viewed it.
I noticed that about 3 minutes in, it started to do the artifacting on the
right side of the screen that I normally associate with a dirty head. Well,
I use my Canon ZR as a dual-purpose deck/vacation camcorder, so I thought
the head might be dirty. I used the head cleaner for the 10 seconds it says
on the case and put my tape back in. Same problem. I repeated if necessary
and still had the same problem.
I then thought that since the tape was mastered on my XL1, then I should try
playback on that. I tried it and for 12 minutes of the doc, it was fine.
Then the mosaic started again. I tried head cleaning again and it only got
worse. I tried head cleaning one last time and now it seems that nothing can
help this.
I know it was not recorded with a dirty head, as the artifacting is not
consistent (not in the same place each viewing). Does anyone have any ideas
on how to fix this?
Also, did I store the tape incorrectly? I simply had it in its case on my
shelf, out of the sun and there aren't any major temperature fluctuations; I
live in San Diego. Do I need to put it in a zip-loc baggy with a silica
packet in it?
Frustrated and volatile,
Derek
------------------------------
Date: Fri, 25 May 2001 11:27:53 +0000
From: villas
To:
Subject: Re: DV Headcleaning?
Message-ID:
anyone got any URL's on where to buy this stuff for a bargain. Also
panasonic mini DV tapes?
thanks so much.
------------------------------
Date: Fri, 25 May 2001 14:35:53 -0700
From: "Lone Orchard Productions"
To:
Subject: RE: DV Head cleaning?
Message-ID:
Also panasonic mini DV tapes?
=======================
http://store.yahoo.com/protape/pancondvtap.html
I found these. I ordered 20 60 min for $99.00 USD. They came promptly and
work well. (Previous tape was with a tape from a different vendor).
Note: These have Japanese Import packaging.
Derek
------------------------------
Date: Fri, 25 May 2001 21:43:48 +0000
From: Fogar
To:
Subject: A too faded image with Sony PC5.
Message-ID: <5.1.0.14.2.20010525212803.03a69eb8@popmail.libero.it>
Hello,
I have to take some shoots by Sony PC5 camera.
Then I have to mix them with some shots of Sony VX9000.
I have just noticed that the Sony VX9000 (3CCD)
gives me a chromatically better image than Sony PC5.
In fact the Sony PC5 camera (1CCD) gives me a too faded image.
Could I use a filter with Sony PC5 to have better shoots?
Thanks Fogar
------------------------------
Date: Fri, 25 May 2001 14:58:03 -0700
From: "Paul Michel"
To:
Subject: RE: DV Headcleaning?
Message-ID: <00ff01c0e565$c5f15900$4fc41f0a@arrow.com>
Check:
http://www.shabria.com/index.htm - Great prices, plus freight
http://www.batterybank.com/ - Good deals on batteries and tapes, no freight
charge
> -----Original Message-----
> From: villas [mailto:villas@lava.net]
> Sent: Friday, May 25, 2001 4:28 AM
> To: DV-L@dvcentral.org
> Subject: Re: DV Headcleaning?
>
>
> anyone got any URL's on where to buy this stuff for a bargain. Also
> panasonic mini DV tapes?
>
> thanks so much.
>
> -- (cut off when replying)-----------------
> This list is made possible by Lifetime DV-L Benefactors such
> as http://www.promax.com, http://www.videoguys.com,
> http://www.panasonic.com/broadcast and the contributions of
> its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
> http://www.DVCentral.org/thelist.html
> DV-L archive at
> http://groups.yahoo.com/group/DV-List/messages
>
------------------------------
Date: Fri, 25 May 2001 17:39:05 -0500
From: Ken MacDonald
To: DV-L@DVCentral.org
Subject: solar chargers for Canon XL1?
Message-ID: <5.0.0.25.2.20010525173638.009c15d0@blue.weeg.uiowa.edu>
Hi,
I'm going to be shooting in the Karakoram mountains of northern Pakistan
this summer and will not have access to electricity. I'm trying to track
down a solar system that I can use to charge the batteries for my XL1. I'm
thinking about the SunCatcher Expedition but am still not sure if it's
fully compatible and I don't want to fry the batteries. does anyone have
any experience using solar power to charge the XL1? Grateful for any
advice and if you could, please reply to me off-list.
Best,
Ken
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Kenneth I. MacDonald
Dept. of Geography
316 Jessup Hall
University of Iowa
Iowa City, IA
52242-1316
319-335-1137
319-335-2725 (fax)
------------------------------
Date: Fri, 25 May 2001 15:29:28 -0700
From: Michael Bender
To: DV-L@dvcentral.org
Subject: Re: solar chargers for Canon XL1?
Message-ID: <3B0EDCC8.4448BC43@eng.sun.com>
Ken MacDonald wrote:
> I'm going to be shooting in the Karakoram mountains of northern Pakistan
> this summer and will not have access to electricity. I'm trying to track
> down a solar system that I can use to charge the batteries for my XL1. I'm
> thinking about the SunCatcher Expedition but am still not sure if it's
> fully compatible and I don't want to fry the batteries. does anyone have
> any experience using solar power to charge the XL1? Grateful for any
> advice and if you could, please reply to me off-list.
If you have the Canon 12VDC car charger than any solar charger that
provides 12VDC at a reasonable amount of current should work.
mike
--
----------------------------------------------------------------------------
Michael Bender E-Mail: Michael.Bender@eng.sun.com
Sun Microsystems, Inc. Tel: 650-614-6941
901 San Antonio Road
Palo Alto, CA 94303-4900
Mailstop: MPK06-201
Never give up! Never surrender!
----------------------------------------------------------------------------
------------------------------
Date: Fri, 25 May 2001 11:33:21 -1100
From: "TJ Lavata'i"
To:
Subject: Re: Unusual artifacting? head cleaning?
Message-ID: <00db01c0e56a$b4a6d3a0$924b4dc6@lavapro>
Hi,
I've had the same problem and had to send my Sony Sc100 (personal mini-dv)
to Sony for repair.
The service shop found tape residue on the heads, which resulted in the same
type of "tearing" you are talking about. With this stuff on the heads, the
camera will happily destroy any tape you play in it until you get this
fixed.
I have begun experiencing this again and I hope that I can manually clean
the heads rather than having to send the camera in again.
Good luck,
TJ Lavata'i
------------------------------
Date: Fri, 25 May 2001 18:38:08 -0400
From: Daniel Woodard
To: DV-L@dvcentral.org
Subject: Re: Combining Video and Powerpoint
Message-ID:
>I would like to do a training series that would be put on a web site for
>people to learn about different topics that would incorporate DV video and
>slides from something like PowerPoint.
>
>TEN TV (www.tentv.com) has a product called a Video Portal that seems to
>include everything, but their price is quite high. I have been learning
>Premiere and would like to use that if at all possible.
>
>How have people incorporated slides and video together to do a training
>program? Does anybody have any examples on the web to share?
>
>Doug Wise
>dougw@candleman.com
The web part makes it a little tricky, I'd look at web tools.
Try SMIL (which kinda controls HTML and media elements) or Flash.
For the video try MPEG-1, QT, Windows Media or Real.
Use HTML and or Flash for the presentation and SMIL or Flash to
control the video elements.
--
------------------------------
Date: Fri, 25 May 2001 17:58:43 -0500
From: Chris Novy
To: DV-L@dvcentral.org
Subject: Re: PD-150 adjustment?
Message-ID: <5.1.0.14.2.20010525175425.00a7f690@www.whoitv.com>
At 01:24 PM 5/25/2001 -0400, NewsmanSGW@aol.com wrote:
>Is there an adjustment to the PD-150 that can be made to stop the flicker of
>computer monitors that are in the shot, usually in the bg during interviews.
>(Yeah, I know I can turn off the monitors, but just curious is I could do
>anything BUT that.)
Using the high-speed shutter may help but it's not as exact as using a
synchronous shutter like Sony's ClearScan (found on the DSR-300 and
above). The DSR-PD150 and DSR-250 do not have ClearScan. My guess is that
was a deliberate design decision to encourage purchases of the DSR-300 and
500. Using high-speed shutter has the undesirable affect of making your
video dark, however. Your best bet is to change the refresh rate of the
monitor to 60Hz (if the adapter card and monitor support multiple sync
rates). Of course, some people are really touchy about you changing their
PC settings --like nuclear poser plant operators for instance! ;-)
..Chris..
------------------------------
Date: Fri, 25 May 2001 16:10:16 -0700
From: "Felix Gallo"
To:
Subject: Re: PD-150 adjustment?
Message-ID: <002701c0e56f$dcad7660$19992b04@cats>
NewsmanSGW writes:
> Is there an adjustment to the PD-150 that can be made to stop the flicker
of
> computer monitors that are in the shot, usually in the bg during
interviews.
> (Yeah, I know I can turn off the monitors, but just curious is I could do
> anything BUT that.)
Felix's Hack Of Least Expense:
If you're using a tripod, which you probably are, with no pans
or tilts, which you probably are, then the monitor screen will
be motionless. Use a garbage matte to clear it out. Capture
a likely looking screen shot. Use your favorite compositing
program to impose the screen shot onto the monitor. Presto,
no flicker, and your screen shot can be dark, bright, green,
purple, brown, high tech, low tech, whatever it takes to
match the interview.
Felix
fsg@cumulonimbus.com
------------------------------
Date: Fri, 25 May 2001 13:33:21 -0700
From: Kevin Marks
To: DV-L@dvcentral.org
Subject: Re: Combining Video and Powerpoint
Message-ID:
At 3:13 pm -0500 25/5/01, Doug Wise wrote:
>I would like to do a training series that would be put on a web site for
>people to learn about different topics that would incorporate DV video and
>slides from something like PowerPoint.
>
>TEN TV (www.tentv.com) has a product called a Video Portal that seems to
>include everything, but their price is quite high. I have been learning
>Premiere and would like to use that if at all possible.
>
>How have people incorporated slides and video together to do a training
>program? Does anybody have any examples on the web to share?
DV needs to be compressed to something else for web video, unless you
have a very fast network.
PowerPoint 2001 for Macintosh lets you export the slides to a
QuickTime movie, which you can then edit together with the video.
------------------------------
Date: Fri, 25 May 2001 16:29:42 -0700 (PDT)
From: Martin Heffels
To: dv-l@dvcentral.org
Subject: Re: Using 100 zebra (v 70, 80, etc)
Message-ID: <200105252329.f4PNTgF67097@newsguy.com>
At Fri, 25 May 2001 11:28:01 -0400, you wrote
>
>OK, I think I'm finally getting it. The main difference between say
>80 IRE and 100 IRE zebra is *when* it has meaning.
>
>With 100 IRE, you use a white card, or maybe you just open up
>exposure until the highlights of a face (or whatever your main
>subject is) are stripped, then you scale back a number of stops
>depending on your knowledge of the camera and what you want to
>accomplish.
It is assumed that in a correctly lit scene the face has about 70-80IRE, and
the higlights are 100IRE. If your camera has a zebra of 70-80IRE, it will tell
you that the faces are lit correctly when the zebra appears, no need to stop
down. In practice this does not guarantee that you won't loose details in your
highlights, because the face could be in shadow, and then you overexpose the
highlights.
When using the whitecard with a 95-100IRE zebra, you set your exposure for the
highlights (in your frame, not on the face), which automatically leads to
correct lit faces (here we assume again that the lighting conditions are not
too extreme). You might need a little correction if the subject has a darker
of
lighter skin tone.
cheers,
-martin-
-martin-
------------------------------
Date: Fri, 25 May 2001 18:49:37 -0500 (CDT)
From: Vidiot
To: DV-L@dvcentral.org
Subject: Re: Dsr 11 or DSR 20?
Message-ID: <200105252349.SAA27991@mrvideo.vidiot.com>
>While on this subject, do you know if the dsr-30 has manual audio control
>over an analog input signal? Or is it AGC like the dsr-11? -mark.
As mentioned in other postings, the DSR-20 has manual level controls, with
level meters. I couldn't live without them.
MB
--
e-mail: vidiot@vidiot.com
Bart: Hey, why is it destroying other toys? Lisa: They must have
programmed it to eliminate the competition. Bart: You mean like
Microsoft? Lisa: Exactly. [The Simpsons - 12/18/99]
Visit - URL:http://www.vidiot.com/ (Your link to Star Trek and UPN)
------------------------------
Date: Fri, 25 May 2001 16:58:39 -0700
From: Kevin Marks
To: DV-L@dvcentral.org
Subject: Re: Combining Video and Powerpoint
Message-ID:
At 6:38 pm -0400 25/5/01, Daniel Woodard wrote:
>The web part makes it a little tricky, I'd look at web tools.
>
>Try SMIL (which kinda controls HTML and media elements) or Flash.
>
>For the video try MPEG-1, QT, Windows Media or Real.
>
>Use HTML and or Flash for the presentation and SMIL or Flash to
>control the video elements.
That's going to get a bit cumbersome. Have a look at this tutorial
for doing exactly this in QT:
http://homepage.mac.com/qt4edu/tutorials/slideshow/index.html
------------------------------
Date: Fri, 25 May 2001 21:09:17 -0400
From: Kat Dalton
To: DV-L@dvcentral.org
Subject: Re: Quicktime 5 and AE question
Message-ID: <3B0F023D.521E@clarityconnect.com>
Kevin Marks wrote:
> The QT DV codec assumes that RGB data is 0-255 range, and compresses
> this range into the 16-235 luma range that DV uses. If your RGB data
> has an already-compressed luma range, it will look wrong with QT's
> codec.
Thanks, Kevin. When I change my 16-235 footage to 0-255 on input into
AE, it looked correct after rendered by QT 5 Apple DV-NTSC codec.
I must say I really like the new Apple DV codec. Noticeable improvement
over Radius Soft DV, which I had been using.
Best,
Kat Dalton
------------------------------
Date: Fri, 25 May 2001 21:38:47 -0400
From: "Kevin"
To:
Subject: Re: Unusual artifacting? head cleaning?
Message-ID:
Yes, I had a similar problem with some DV about 6 months old. Just wouldn't
playback on the camera of origin. However a friend popped it into his cam
and it worked just fine. I had him make me a dupe and life is good again.
Still don't know what caused it though.
> OK guys,
>
> I have counted to ten several times to calm myself down, and I am usually
a
> very calm guy.
>
> I am making a new reel and took down a miniDV tape that has a documentary
on
> it that I edited last year. I would say it has been about 6 months since I
> mastered and viewed it.
>
> I noticed that about 3 minutes in, it started to do the artifacting on the
> right side of the screen that I normally associate with a dirty head.
Well,
> I use my Canon ZR as a dual-purpose deck/vacation camcorder, so I thought
> the head might be dirty. I used the head cleaner for the 10 seconds it
says
> on the case and put my tape back in. Same problem. I repeated if necessary
> and still had the same problem.
>
> I then thought that since the tape was mastered on my XL1, then I should
try
> playback on that. I tried it and for 12 minutes of the doc, it was fine.
> Then the mosaic started again. I tried head cleaning again and it only got
> worse. I tried head cleaning one last time and now it seems that nothing
can
> help this.
>
> I know it was not recorded with a dirty head, as the artifacting is not
> consistent (not in the same place each viewing). Does anyone have any
ideas
> on how to fix this?
>
> Also, did I store the tape incorrectly? I simply had it in its case on my
> shelf, out of the sun and there aren't any major temperature fluctuations;
I
> live in San Diego. Do I need to put it in a zip-loc baggy with a silica
> packet in it?
>
> Frustrated and volatile,
>
> Derek
>
>
> -- (cut off when replying)-----------------
> This list is made possible by Lifetime DV-L Benefactors such as
http://www.promax.com, http://www.videoguys.com,
http://www.panasonic.com/broadcast and the contributions of its members.
>
> To contribute money: http://www.computervicestore.com/dvl.html
> All about DV-L, to subscribe & unsubscribe:
http://www.DVCentral.org/thelist.html
> DV-L archive at http://groups.yahoo.com/group/DV-List/messages
>
------------------------------
Date: Sat, 26 May 2001 11:21:37 +0900
From: jhogg
To:
Subject: Basic IE 1394 Hub Questions
Message-ID: <200105260221.LAA11181@apm01.m2.ocv.ne.jp>
I have some really basic questions about IEEE 1394 hubs. I have found one
in Japan, which is not sold in the states, or other countries I think.
The company (Acro's) doesn't have a web site either. The hubs are really
small, smaller than a deck of playing cards and they are housed in
translucent plastic. I can see the hub in the package, but there don't
seem to be directions or diagram for using it. I can get it here for
about $60, which seems like a good price.
My questions are:
1. Is there an uplink port like USB hubs? That is, a dedicated computer
port? Or can the computer be plugged into any port? (This hub has three
ports on one side and three on the other. There is some printing stating
that it is an IEEE1394 hub above one of the ports, and I wonder if that
one is the computer's port. Otherwise, it might indicate on the bottom.)
2. How important are the inside electronics? I can see the circuits
inside, and I wonder if some hubs are better than others.
3. Do IEEE 1339 hubs need shielding? The Orange hub looks to be made of
metal. Is metal important? Or will plastic be fine?
Thanks, Jim
------------------------------
Date: Fri, 25 May 2001 23:52:19 -0400
From: "bullardc"
To:
Subject: Re:PREMIERE FLOATING OBJECT
Message-ID: <003d01c0e597$435d8a40$9a0f850a@hppav>
What is the simplest way in premiere 6.0 make an eggshaped object float ,
with a running video in the egg, while played over a sky. the desired effect
is a falling egg from the sky with the face of a person on the egg. I would
like to have the face be actually moving rather than a fixed element. I know
I can do this in after effects, but what about in premiere?
------------------------------
Date: Sat, 26 May 2001 00:25:09 -0500 (CDT)
From: Vidiot
To: DV-L@dvcentral.org
Subject: Re: Dsr 11 or DSR 20?
Message-ID: <200105260525.AAA29935@mrvideo.vidiot.com>
>TC does not burn on a tape unless you pass it through a monitor.
Correct, the point I'm trying to make, and many seem to be missing, is
that if you are using the deck to make a copy of a tape, or to use it in
a situation where you are feeding a projection system, you have no idea
where you are in the tape because there is no timecode displayed anywhere.
And unless you want to ruin the tape being copied, or piss off all the
people watching the projection, you can't turn on the TC on the output.
MB
--
e-mail: vidiot@vidiot.com
Bart: Hey, why is it destroying other toys? Lisa: They must have
programmed it to eliminate the competition. Bart: You mean like
Microsoft? Lisa: Exactly. [The Simpsons - 12/18/99]
Visit - URL:http://www.vidiot.com/ (Your link to Star Trek and UPN)
------------------------------
Date: Sat, 26 May 2001 09:44:33 -0700
From: "masi"
To:
Subject: Re: Unusual artifacting? head cleaning?
Message-ID: <012001c0e614$91cdec60$432b4fca@a6r2y3>
----- Original Message -----
From: "TJ Lavata'i"
> I have begun experiencing this again and I hope that I can manually clean
> the heads rather than having to send the camera in again.
>
TJ,
How are you thinking of doing that manually? I'm starting to experience that
as well but am in a part of the world where it would cost me more than a new
camera to send this one in to get cleaned.
Masi
------------------------------
End of DV-L V1 #867
*******************
-- (cut off when replying)-----------------
This list is made possible by Lifetime DV-L Benefactors such as http://www.promax.com, http://www.videoguys.com, http://www.panasonic.com/broadcast and the contributions of its members.
To contribute money: http://www.computervicestore.com/dvl.html
All about DV-L, to subscribe & unsubscribe: http://www.DVCentral.org/thelist.html
DV-L archive at http://groups.yahoo.com/group/DV-List/messages