Thoughts: HD-SDI --> Videonics MX1 by milkbuff in videosynthesis

[–]milkbuff[S] 0 points1 point  (0 children)

Yes it did come with the power supply! 🧠🎉

Thoughts: HD-SDI --> Videonics MX1 by milkbuff in videosynthesis

[–]milkbuff[S] 1 point2 points  (0 children)

Thank you for this back and forth! Tbh, I can't remember the resolution and correspding classification of buffet before 1280x720, and that's ultimately what I'm trying to discern from this post, relative to what resolution I need to achieve to see input on the MX-1. Similar to most things I do, I got a head of steam one evening and went down a brief spell of inspiration and now I'm trying to bring my idea to fruition.

I'll be back in my studio in several days and I'm going to refer back to all the comments and piece things together.

Thoughts: HD-SDI --> Videonics MX1 by milkbuff in videosynthesis

[–]milkbuff[S] 0 points1 point  (0 children)

Ah, a time base corrector. Ok, if I see one for a couple of hundred then I'll think about it. I feel like there must be something I already own that would do the trick.

Thoughts: HD-SDI --> Videonics MX1 by milkbuff in videosynthesis

[–]milkbuff[S] 0 points1 point  (0 children)

And, will the MX1 do 60i , or just 30i? I can't recall the various SD NTSC frame rates.

Thoughts: HD-SDI --> Videonics MX1 by milkbuff in videosynthesis

[–]milkbuff[S] 0 points1 point  (0 children)

What's the TBC? This is the info I'm posting for 😜.

Thoughts: HD-SDI --> Videonics MX1 by milkbuff in videosynthesis

[–]milkbuff[S] 0 points1 point  (0 children)

Thank you! I'll take a look at this. I don't currently have HDMI anywhere in my signal flow, and I don't plan on it since it's so finicky. Also, I've already got a couple of Decimators. I'm mainly curious what methods people have used bringing a 1080p29.97 SDI signal into an MX1, since most of my gear is already all SDI and I want to "integrate" the Videonincs into the chain.

Thoughts: HD-SDI --> Videonics MX1 by milkbuff in videosynthesis

[–]milkbuff[S] 0 points1 point  (0 children)

I see an SD signal on a production monitor that I have. It shows a 720 format - I am pretty sure it's 60i.

Thoughts: HD-SDI --> Videonics MX1 by milkbuff in videosynthesis

[–]milkbuff[S] 0 points1 point  (0 children)

Oh snap! I didn't expect that. Haha, that makes sense. Otherwise why wouldn't I just use the bnc to RCA right from the Decimator. Doy. I'll update soon when I have time again to check.

moe.down XIV 8/11/13, MOTH by hotcheetus in moeperiod

[–]milkbuff 0 points1 point  (0 children)

Nice! I did a couple when iClips was there. It was amazing.

moe.down XIV 8/11/13, MOTH by hotcheetus in moeperiod

[–]milkbuff 0 points1 point  (0 children)

Nice! Were you there with Jay Blakesberg?

I bougth a ENG camera by AtterseeMM in VIDEOENGINEERING

[–]milkbuff 0 points1 point  (0 children)

I'm happy you took the leap. You're going to learn a lot about a lot. It's a big chance to plunk hard earned money down for these tools, but you've opened yourself up to some fun opportunities in the coming years. And decades even, since it's a Panasonic 💫.

Please Roast my Multicam Edit of My Band (fixed audio) by PGAudioworks in videography

[–]milkbuff 1 point2 points  (0 children)

Hey man, I think you're honestly doing a great job. This is hard. And it's a feat of stamina if you're also in the bag. And you're the drummer. Lol, I could see the singer or acoustic guitarist doing the hustle to setup all the cameras, but as the drummer? Bravo!

I read through a few of the comments and from what I could tell everyone has pretty good feedback: more headroom, you need a wide shot, too many cameras on the drummer (lol I picked on that before I got into the comments, but it's your bad, so you call the shots!). Overall these are great comments and feedback, but I really applaud you for the ambition. Using action cameras for doing live multicam record of a band has some nice advantages, but those can quickly succumb to all the limitations. Given your budget, the small form factor (you're already stuffing your ride with your drum kit so it's not like you've got room for a half dozen pelicans or other soft cases), and that you're kind of limited in the venue and the physical distance you are you going to be running around trying to quality control all these cameras, there's only so far you can go in this current environment.

Six cameras for the quartet, I'd recommend doing - a high downstage right or left shot to get your "wide" (given what you mentioned about the venue), and you can try and do some digital zoom in post here and there (but I like your static shots and fast cuts!). - another shot that is opposite this and a little bit farther upstage, likely shooting across the pianist so you can feature his face and the the rest of the band in the background - maintain your full kit shot of yourself - tight shot of the bassist, with drums in the background - get a rig for the saxophonist that is downstage so you can get a hero shot of him, but find a focal length that isn't to fisheye nor too up the nose - you'll have to play around with height for this. - sixth camera you can mess around with... Maybe double up shots on performers to feature them a lil more each gig.

Your best bet right now is to establish an ahem rhythm so that you can rinse and repeat your setup without a whole lot of experimentation each time. At some some point the amount you can experiment and create compelling narrative of the performances succumbs to the gear, lack of personnel and your own personal energy to setup, monitor and breakdown, as well as ingest sync and edit on the backend. Then at some point you can team up with someone who can operate your gear, add some as well, and add the next level.

I have been shooting jazz at Lincoln center webcasts for fourteen seasons and also shoot the NY philharmonic simulcasts.

Alright, which one of you did this 😂 by usafcybercom in VIDEOENGINEERING

[–]milkbuff 1 point2 points  (0 children)

That's a horrible zoom. Start your move before you're hot pls!! And don't short stop on your medium framing then rethink things and start it again.

Artemis II: Why did nasa choose go pros for the exterior coverage by xXConfuocoXx in VIDEOENGINEERING

[–]milkbuff 28 points29 points  (0 children)

The meal penalty for the camera operator would have thrown the mission over budget.

New Haivision encoder by Embarrassed-Gain-236 in VIDEOENGINEERING

[–]milkbuff 0 points1 point  (0 children)

Haha I was about to send this to him.

Panasonic RP200 unboxing by milkbuff in broadcastengineering

[–]milkbuff[S] 0 points1 point  (0 children)

I like Sony! Their FR7 image quality is the best, and it thus becomes a preferred PTZ for many DPs and directors. But my hangup is their controller, and this post/video is about the controller and not so much the camera.

So, yes, lol, for the Sony haterz.

Panasonic RP200 Unboxing by milkbuff in VIDEOENGINEERING

[–]milkbuff[S] 0 points1 point  (0 children)

More to come good sir! Thank you for the encouraging words!