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Posts posted by jeffdeponte

  1. Yes, it's true that the GH3 LCD is fantastic, but I would love to have a


    LOUPE EX-SUPPORTER GH1/GH2—style loupe for it. I have practically begged them for such a product, but have not had a response.


    One can only hope and pray... or, maybe petition them en-masse?



  2. It's all about the "suspension of disbelief." We have been, through years— generations even— of exposure to 24fps films, that we should suspend our disbelief when we experience the magic of narrative cinema at this frame rate. The phenomenon of persistence of vision takes at least 24fps to occur in a fiction film. (Below that rate, the image is too jumpy to be believable.) If you've ever shot 8mm film at 18fps, you know that you can make an image (and save film!), but the result is not believable as a narrative film; it's just too jumpy. Funny thing, at 24fps with a 180 degree shutter, the audience in a film-projected theater is actually sitting more in darkness than in light! Persistence of vision in the brain joins these images into a stream.


    So, 48fps approaches 30fps, interlaced television. Think: sporting event! Do you want to see a fictional story that presents an image that looks like interlaced, U.S. television coverage of a football game? This is a question that can only be answered by the individual.


    Reserve judgement. See it for yourself, then decide. No matter what we, working professionals, think of 48fps projection, whether or not it survives is out of our hands. Audiences will vote with their wallets.

  3. [quote name='OzNimbus' timestamp='1353034097' post='21737']
    Please report away, I certainly have no issue with that! I read the same report you did & drew a very different conclusion..... that the issues still haven't been fully resolved & next week will be a litmus test to see if the glass is truly up to spec or not. I have 19 years experience in manufacturing to draw on, and until a finished product is actually rolling off the end of the line in quantity, and passes QC, it ain't fixed. There are many things that have to go right for the issue to truly be "resolved."
    That being said, I really hope that it passes next week & they start pumping these out. I'd love to buy one.

    Careful, Oz, you're sounding awfully negative. The forum Nazi might ban you!
  4. OMG... NOT Film City!

    Take it from me: I love a deal, and I have bought their stuff in the past. But, do yourself a favor, and only buy QUALITY gear. Their stuff is awful. I took a couple their castings to my local machine shop, and my buddy there almost threw up. The worst thing that happened to me: the first follow focus I ever purchased was from them. The gearbox broke, on its own, while in transit in a Pelican case. What a waste of money.
  5. [quote name='TravisKelleher' timestamp='1341931683' post='13688']
    Sampling rates must match as another member has mentioned.

    Is running a line out from the H2n into the GH2 an option for you?

    I use a Sescom Line to Mic adapter, with a 25ft extension with my H2n, For most situations it works pretty good.
    Although the wave file from the H2n is better, but with a little testing you can put that available stereo track in the AVCHD to good use.

    With out careful attention to the subtle differences, and comparing wave forms on a frame level, it's hard to tell the 2 audio recordings apart.

    The recorded H2n track on the AVCHD sounds pretty good.

    I mount the H2n to a mic stand with boom arm, as you would do with a Boom Mic.

    If you have an available monopod and an extra hand, you can do a decent run and gun using the H2n on a monopod to get it up and out of view.



    Thanks Travis, I do have the hardware that you mentioned, and yes, I really should record the H2n output into thte GH2. But, no, I do not have an extra hand! LOL!
  6. Ho folks,

    I have now shot a couple of interviews using this setup. Frame rate is 1080 24p. I can easily sync the audio and video, but after a few minutes, they drift apart. By 30 minutes, they are waaay off. Am I missing something here? Is there a protocol I need to follow?

    Thanks in advance...

  7. Yes, pulldown [u]does[/u] enter the equation if you want to have your 24p film broadcast on television in the United States!

    And, I did not want to

    a) burden the producer with the hassle of the conversion (and, it was in my contract to deliver a 29.97 segment)

    ...and I want to

    b) understand the process and be able to do it all myself

    So, silly me, I realized that JES is not a corporation, and that I should just send him an email. He responded, and it works!
  8. Aloha friends,

    Iʻm finishing up a short film for broadcast (US/NTSC), shot in 24p (66Mbps Brandin hack) on my GH2. I understand that one of the functions of JES De-Interlacer is to add pulldown. Iʻve seen many posts saying that you can do this with JES, but Iʻve been struggling with it. IMHO, the interface is daunting! Is there anyone or any reference on the web that could enlighten me as to how to do a simple conversion with JES? Specific steps (dialogs, radio buttons, menu selections) would be greatly appreciated.


  9. Whatever works for you: planned, unplanned; well thought-out, or miraculous epiphany. I never fail to shock my non-shooting friends, who are often surprised that I'll try odd or untested techniques while in the middle of a job. Part of what I love about this work is doing just that, and making discoveries that enhance the storytelling and create beautiful (or, at least, interesting!) images.

    I've noticed that, just before going totally dark, my Lightcraft Works Fader ND tends to darken the lower left and upper right corners of the frame. It's kind of a modern vignette, and I like it very much. I think it looks good, so, I use it.

    Isn't this a great time to be working?
  10. I saw what you might consider a ghost just yesterday. Just playing with the camera, pointed it a an extremely bright jalousie window, the kind with an opaque surface. I could see a double image of the window, and I assumed this was a reflection in the ND Fader. I just tested this now, and, while the ghost image is there without the filter (very slightly), it is much more pronounced WITH the filter in place.

    In a real-world shoot last week, I was loving this filter! I never had any ghosting issues, only the low-saturation problem ("milky" looking video) that came from not having a lens hood in place. I think that these problems are a small price to pay for all of the other benefits of the filter.
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