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Sony VX2100 / PD170 / PDX10 Companion
Topics also include Sony's TRV950, VX2000, PD150 & DSR250 family.


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Old June 28th, 2007, 09:52 AM   #46
Fred Retread
 
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If I gather correctly that you weave together clips from each camera where the audio stays with the video, then I can see your point. You'll like the Sennheiser. I love mine.
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Old July 10th, 2007, 01:32 PM   #47
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Sennheizer Wireless

Another "positive" vote on the Sens! In addition to my work with video, I also own an audio production company and we have 6 of them. 4 HH and 2 lavs. Excellent choice! Very stable. I've worked with better sounding lav mics, but they were not even close to the price range of the Evolutions! The two receivers and one mic set-up should work well for you. I agree on it being the best way based on your stoping and starting each camera. (Especially for the money)

Best,

K Fox
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Old July 10th, 2007, 02:13 PM   #48
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Quote:
Originally Posted by Kevin Fox View Post
... I've worked with better sounding lav mics, but they were not even close to the price range of the Evolutions ...
And for a few $hundred the kit's strictly functional stock ME2 mic can be upgraded to a much better sounding mic like the Countryman B3.
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Old December 12th, 2007, 03:19 AM   #49
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Matching PD170 footage with Sony Fx7/V1 in post production

Is there anybody out there who uses the pd170 with the sony fx7/v1 and if so, how easy is it to match the footage in post production?

We mainly want to do corporate work and some weddings on the odd occasion.

Thanking you in advance.
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Old December 12th, 2007, 03:22 AM   #50
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Matching PD170 footage with Sony Fx7/V1 in post production

Maybe I should just mention that I am planning to shoot with the pd170 in 4x3 and also in 4x3 dv mode using the Fx7/V1.
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Old December 14th, 2007, 06:19 PM   #51
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I can't tell you right now but I have a VX2100 and I have a V1U is in transit. So I should be able to tell you something soon. I did shoot on one occasion with both but it was under low light conditions (like many weddings). Under those conditions, the VX2100 was far superior and the only way I could get them to intercut was to "detune" the footage from the VX2100. But the shooter with the V1U had just gotten his camcorder and he may not have had it optimized quite as good as it could be with more knowledge and experience.
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Old December 14th, 2007, 07:33 PM   #52
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it would be best if you can get the cameras close BEFORE you shoot.
for that a WAVEFORM monitor and VECTORSCOPE would be best BUT barring that get them both up on a TV (the same one) and use the color bars in the camera. Use the Custom Presets or whatever else you have on the cameras to get them as close as possible. Remember also that viewing thru the LCDs will not neccessarily give you accurate looks at color and exposure so the first thing you need to do is set the LCDs to the bars so they are both relatively the same as to brightness. You can set the color level of the LCD in the menu, at least you can on the 170 and I think you can on the others.
It sounds like a lot of work but it is the only way to get the 2 cameras close otherwise your could spend alot of time in post trying to geth them to match and they still might not. Do as much work before the shoot so you spend less time and have a better chance of matching them later.
Don
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Old December 14th, 2007, 09:47 PM   #53
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I have the Sony PD170 & Z1
What I do is get them looking the same at home through the LCD screen. I have a board that has a lot of color and writing on It and I know If this is looking good through the LCD It's about right.
Then do a test record and put it through your NLE and do a quick render, 30sec Is all you need.
Remember when you go out shooting to always white balance with the same white card with both cameras pointing at It ( you know this anyway ) this way you should be close. I allways white balance when the lighting changes.

Good luck
Simon
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