Bruce Pelley
September 18th, 2007, 07:23 PM
Like a lot of you I upgraded from the GL-2.Have had mine for 5 years.
One thing I liked about the GL-2 that it allowed the user to have fast & easy access to what I consider to be a critical parameter via the scroll wheel located near the focus ring.It made adjusting the exposure level in very fine increments as necessary a breeze.
For a long time,my standard operating procedure was to:
1)Record in TV mode.
2)Turn the general exposure level to "60".
3)Push the scroll wheel in to lock into that particular range
4)Then utilize the 10 steps which goes in a either negative or positive direction to fine tune/match the GL-2 to the prevailing lighting conditions.
What exactly replaced that on the XH-A1 & how is it done now?Can that be function/feature be copied exactly?I ask because my main shooting venue is the interior of a church which has shifting and unpredictable light levels some of which are ambient/natural and others fluorescent.
The most important part is the continued ability to microtune the exposure on the fly.
Looking forward to learning on how to set this up on the A1 to mirror what I've been doing and am used to for quite some time now.
Thanks!
Bruce
One thing I liked about the GL-2 that it allowed the user to have fast & easy access to what I consider to be a critical parameter via the scroll wheel located near the focus ring.It made adjusting the exposure level in very fine increments as necessary a breeze.
For a long time,my standard operating procedure was to:
1)Record in TV mode.
2)Turn the general exposure level to "60".
3)Push the scroll wheel in to lock into that particular range
4)Then utilize the 10 steps which goes in a either negative or positive direction to fine tune/match the GL-2 to the prevailing lighting conditions.
What exactly replaced that on the XH-A1 & how is it done now?Can that be function/feature be copied exactly?I ask because my main shooting venue is the interior of a church which has shifting and unpredictable light levels some of which are ambient/natural and others fluorescent.
The most important part is the continued ability to microtune the exposure on the fly.
Looking forward to learning on how to set this up on the A1 to mirror what I've been doing and am used to for quite some time now.
Thanks!
Bruce