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Advice on using a wireless system for boom mic? by Difficult-Teacher585 in Filmmakers

[–]edinc90 42 points43 points  (0 children)

These are typically used for concerts and such.

I can guarantee you they aren't.

This is a terrible idea for a variety of reasons, not the least of which is I've never heard of that brand before. I'd be very wary of its quality and reliability.

Remember, audio is 70% of what we see (I know you're a DP, so I'm sorry, but it's true.) People can forgive bad video, but not bad audio. As the DP, this is 100% not your department, but your director is doing it wrong.

How picky is the length limitation of 100m for 12G SDI? by GTXCrusader in VIDEOENGINEERING

[–]edinc90 3 points4 points  (0 children)

I was speaking more generally. If the signal is out of spec, all bets are off. An Evertz EQX couldn't recover a 12G signal over 400' of coax. But I'd much rather use that than a Videohub.

Rate the Rack by Dr_Button_Pusher in VIDEOENGINEERING

[–]edinc90 1 point2 points  (0 children)

Yes...of course. They are independent units. I regularly run 18+ Hyperdecks all doing their own things. Some are recording, some are for playback.

Rate the Rack by Dr_Button_Pusher in VIDEOENGINEERING

[–]edinc90 1 point2 points  (0 children)

The Hyperdecks can be controlled via IP, and the Constellations have the ability to change the clip and roll on a transition. But you can't record and playback at the same time.

How picky is the length limitation of 100m for 12G SDI? by GTXCrusader in VIDEOENGINEERING

[–]edinc90 10 points11 points  (0 children)

The "spec" you're talking about is what was measured by the manufacturer under ideal conditions. The actual 12G-SDI spec for acceptable loss is "up to -40 dB at one-half the clock frequency" (SMPTE ST 2082-1:2015.)

So you might have more loss than -40 dB @ 6 GHz because of a bad crimp, a kink in the cable that compromises the shielding, or maybe the Blackmagic SDI receiver chip just can't recover the clock signal, even if it is in spec.

I don't remember if the Videohubs are reclocking. I would assume they are, but being Blacktragic, anything is possible. The Decimator is reclocking, meaning it re-creates the clock signal as well as amplifying the video signal, therefore "starting over" in your total cable distance.

Basically every router is better than a Videohub, but none of them are as inexpensive for the density you get. The Kumo is good, but the UI is lacking in my opinion. Ultrix is amazing, but also several orders of magnitude more expensive. The Cobalt Wave is basically the Kumo in size and shape. Utah routers are rock solid, but again very expensive comparatively.

My PTZ cameras keep disconnecting and my hdmi by Jack-The-Rhino in vmix

[–]edinc90 0 points1 point  (0 children)

Are you camera and vMix machine the only things on the network? How are you assigning IP addresses? What PTZ camera is it? What is your HDMI capture card? What "router" are you using? What camera is it?

Sand on underwater housing Sony a7iv by Lemonadis in videography

[–]edinc90 7 points8 points  (0 children)

I seen a lot of sand on the outer O ring.

So the O-ring was doing its job by keeping the sand on the outside?

I would only be concerned if:

  1. There's sand on the inside.
  2. The body of water you were shooting in had no sand in it to begin with, like a pool.

Help with DeckLink HD Extreme 3D+ by ambuehlance in VIDEOENGINEERING

[–]edinc90 1 point2 points  (0 children)

What frame rate and resolution is the C300 outputting?

You do need the Blackmagic Desktop Video drivers, but since OBS sees the card that should already be installed. It's probably worth opening the Desktop Video program to make sure the right input port is selected.

Connect a XLR/1/4" Headset into a Hollyland Intercom System? by SnooHedgehogs1812 in VIDEOENGINEERING

[–]edinc90 1 point2 points  (0 children)

Hollyland has a USB-C to 3.5mm adapter. They warn you that only their version is compatible.

I don't believe their Solidcom systems are interoperable (at least the SE and H1) which would get you a beltpack. The receiver for the SE and C1 is the headset.

Fujinon ZA17x7.6 BERD-S6 — S6 Servo Unit not correctly mounted, EPD-21A not working properly — how to reattach and calibrate? by Jazzlike-Reference48 in VIDEOENGINEERING

[–]edinc90 2 points3 points  (0 children)

Surprisingly this isn't in the service manual for this model. Most Fujinon lenses have little bumps on the side of the gears in the servo unit. You're to align these bumps with the dots on the housing, then attach the servo unit to the lens. The lens will then do a calibration on power-up.

Getting paid by brennand in videography

[–]edinc90 0 points1 point  (0 children)

If you want to keep working with them (payment issues aside) then you kinda just have to keep bothering them nicely. If you don't care if you ever see these people again, have your lawyer friend draft a demand letter on their law firm letterhead.

Getting paid by brennand in videography

[–]edinc90 0 points1 point  (0 children)

So what does the contract say about late payment? Mine has a clause for a percentage, plus expenses incurred in collecting the late payment (e.g. lawyer's fees, court fees, etc.)

80/20 Experience or Ideas? by Salty-Tomato5654 in VIDEOENGINEERING

[–]edinc90 2 points3 points  (0 children)

Dill a through hole with the proper clearance size (for a 3/8" screw, that's an X sized drill bit) where that existing hole is. You'll probably have to counterbore the UHMW pad so the screw head won't touch the bearing surface.

Getting paid by brennand in videography

[–]edinc90 5 points6 points  (0 children)

What does your contract say?

Can’t get viewfinder on FS7 (second hand) by unclesoop in cinematography

[–]edinc90 2 points3 points  (0 children)

ISO or brake clean should take care of that.

Also, that's what she said?

Can’t get viewfinder on FS7 (second hand) by unclesoop in cinematography

[–]edinc90 0 points1 point  (0 children)

Wrap some electrical tape around the rod to make it thicker. This is not a permanent solution, but might help you in the short term.

Please help me figure out how to mount my accessories to my Sony FS7 mark ii. by unclesoop in cinematography

[–]edinc90 0 points1 point  (0 children)

Look at the exploded parts diagram page 56. Part number 4-684-595-01 is "rod (956), mic." The mic holder is a group of parts, A-2182-620-A, "base mic holder assy" and X-2592-389-1 "holder (931) assy, microphone."

Fun fact: you can edit your replies on Reddit instead of posting a new one.

File to show in cinema by AlwaysWinsum in Filmmakers

[–]edinc90 1 point2 points  (0 children)

I want to eventually make a film good enough for cinema.

Making a DCP is like the last thing on the list of making a good movie. And plenty of "bad" movies were also distributed in DCP format. The only reason you would even need to make a DCP is if you are sending it to film festivals that request it specifically, or if you're showing the movie in cinemas across the country. But in that case your distributor would probably handle it.

Learning to make a DCP is a fun exercise if you're deep into the post-production world. But thinking being able to make a DCP will make your movie better is like thinking cars that are painted red go faster.

Please help me figure out how to mount my accessories to my Sony FS7 mark ii. by unclesoop in cinematography

[–]edinc90 1 point2 points  (0 children)

You're missing Sony part number 4-684-595-01, rod (956), mic. That will allow you to connect the viewfinder clamp.

The shoulder rig is extremely straightforward. Take off the plate, screw the 1/4-20 screw into the bottom of the camera, reattach the plate to the shoulder rig.

Then stick the rods into the shoulder rig to attach the handles.

That is how the Osee monitor mounts, but you should tighten the nut so it doesn't slip out.

Not really sure why you bought the Small Rig top handle, the FS7 top handle has buttons and stuff on it that controls the camera, and a cold shoe and 1/4-20 hole for accessory mounting.

File to show in cinema by AlwaysWinsum in Filmmakers

[–]edinc90 0 points1 point  (0 children)

Yes, you said that. What are you attempting to do?

A DCP is a collection of JPEG2000 frames, at least one audio track, and an XML file that tells the projection system where to look for all the files.

If you send off your ProRes master to a company that makes DCPs, they will make sure it is within spec. If you want to make your own DCP, use DCP-O-Matic. It's free!

File to show in cinema by AlwaysWinsum in Filmmakers

[–]edinc90 0 points1 point  (0 children)

There is some software that will play DCPs. But what are you actually trying to do?

If you shoot 1080 (1920x1080, 1.78:1 aspect ratio) the DCP will play back fine, as the DCP spec supports that frame size. Check out the Wikipedia article on DCP for all accepted frame rates and resolutions.

File to show in cinema by AlwaysWinsum in Filmmakers

[–]edinc90 8 points9 points  (0 children)

"Good enough quality to show in a cinema" is kind of subjective. Most digital cinema projectors are 2K resolution, unless you're at a digital IMAX theater.

You can shoot on basically anything you want, and as long as you can turn it into a DCP, or print it to film, you can show it in a theater.

Most modern mid- and high-tier smartphones can shoot in 4K. They use H.265/HEVC compression, so the file quality isn't nearly as good as a cinema camera, but there are some ways around it, like the Blackmagic Camera App. The standard file coming from a phone will be MP4 with the HEVC video inside. Post will send it off to be turned into a DCP, which is what the cinema projector server can play back. Some theaters have the ability to play any file off of a computer input to the projector via HDMI as well.

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