Camera is not the answer

#204515
AvatarDan
Participant

Any professional should have the right tools. Back to what started of this thread: I begun with an AG-AC7 and I am still using it frequently. I've shot TV commercials that are incredibly sharp and converted them to 4:2:2 in post. I've spilled coffee on it a couple of times, and it travels with a light, a shotgun mic and a spare 4 hour battery.

 

Zoomed in a little and with the right lighting, AG-AC7 will give you nice bokeh, take a look:

 

It also has decent stabilization and macro:

 

NO GREEN SCREEN: I gave up getting it to work with green screen, some things are just not for a prosumer camera. To get even lighting, no matter how you adjust exposure or iris, you need to add some watts to even out your background. When you add light, the green spills, plain and simple, and you will have a halo. I assume this may have been overcome if I had spaced wall, subject and camera a few more feet apart, but I don't have that luxury.

 

Instead I put a Carl Zeiss F1:1.8 on a DSLR and turned all the lights down but one (50 watt) which lighted both the subject and the screen sufficiently, and I got amazing chromakey separation, out of one light pointed properly.

 

The AG-AC7 is a great camera for the following reasons:

 

Takes a beating, never heats up, 4 hr battery life, plenty of space to velcro a mixer and other tools to the body, you won't have a heart attack if you break it or lose it, has incredible sound compared to DSLRs (built-in mic will even zoom in with your visual zoom), and it's the first thing I grab before I fuss with which DSLRs, chargers, lenses, fliters, etc to take with me.

 

I've inserted the footage from it into film taken via more expensive means, and nobody points to it saying "hey, that is not with a $4000 camera". Sure we all want a BMW, but in reality a Chevy goes 120 MPH just as well, and is cheaper to maintain.

 

I know interlaced gets a bad rap, but most decent NLEs will convert to progressive or stich the interlace perfectly for you in post, so that's more an issue of learning the hidden output features of your editing software really well.

 

If you see this ad output for TV (80Mbps, 4:2:2) you will notice absolutely no interlace lines. Again, straight out of the camera the interlace is horrible just like from any other 1080i camera. It's just knowing how to use the NLE to get the final output as good as it can possibly be.

Below is the Sorensen compressed YouTUBE preview version.

 

 

Most common mistake that give people poor footage (besides lighting considerations) is shooting one frame rate and resolution, then exporting in another frame rate and resolution, simply because the choice is not grayed out, and they end up with horrible footage. Then they turn around and blame it on the camera.

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