Hi,

In a couple of weeks I'll be filming with my EX1 some Blue screen shots. I'd like to have some advice about best setup and PP settings for Blue Screen. We'll be filming in a dedicated Chroma Key Studio (only blue screen, not green). Also, as I'll be using the uncompressed HD-SDI out (to PC with Xena LHe and Cineform), is it possible to use the live HD-SDI output and, at the same, record to the internal cards (as a backup)?.

Thank you, any advice is most welcome.

Ruben

Hi all,
Is anyone shooting 30P and outputting to 60i for BD Disk and 30P for DVD

How are your results with rapid motion
Thanks! :)
Paul

I remember reading a thread a few months back about someone experiencing one side of the image rather soft but i cannot find it.
Anyone else experience this problem?

Here's a nice site that will let you examine the EX3 up close...

Best I've seen of the camera...

enjoy

http://www.sony.ca/xdcamex/rot_xdcam_ex_2/index.html

Has anyone come up with an delicate method to remove the sunshade from the Sony .8WA adapter so that it can be used with a mattebox?
About to get out the saw,
Craig

this short 1080i video used the litepanels micro led light on hotshoe from about 4 feet from table with the micro's diffusion filter attached to led light.

the effect is what some on forum wanted with a medium level of softening.
similar to the effect between a zeiss softar 1 and 2 filter.

for products shots, this diffusion filter maybe too much.

http://www.vimeo.com/1196896

paul

I'm sure this link has already been listed somewhere herein before, but in case it's not, now it is.

http://www.sony.co.uk/biz/view/ShowContent.action?site=biz_en_GB&contentId=1193315622008&parentFlexibleHub=1205831217039

Just got a Zylight Z90 and a Tekkeon MP3450 battery friday and ran it at daylight and full power on a fully charged battery.

after about 100-105 minutes at near full power, the lights went out. poofed!
lucky for me, i had the litepanels micro as backup, although the light from Zylight Z90 with the anton bauer softbox was so much more pleasing.

anyone has this battery and can share you run time?

paul

shot 720/25p, editing native, changed audio in some sequences to stereo pair, pulled all sequences into a new master seq, added some text graphics on top, when unrendered, audio goes out of synch after a graphic - just like a DV sequence..... but unlike a DV seq, where the audio is synched once rendered, this audio remains OOS in exported FCP ref file, and thus in WMV transcode in Episode.

Exported sequences' audio was not set to dual mono - would this have been the problem? Any other checks to ensure synch?

:)

OK, I'm taking a delivery (probably one of the first?) of this Decklink HD Extreme capture card on Fri Jun 27th:

http://blackmagic-design.com/products/hd/

Will test it with Sony V1U over HDMI, as well as analog in.

If you have Sony EX1, join in and we'll test the HD-SDI route as well.

Green screen set up is ready, it'll be especially interesting to see how EX1's footage stands against V1U for keying.

Email me from this forum, or from here:

http://primehd.net/contact.htm

Cheers!

Hi,
Would anybody have any ups on hotshoe 2 x extenders for the EX3 to increase zoom?
Cheers, Mick

Does anyone know if the P+S mini adapter will work with an Ex-1?

By work - I mean does it have an achromat that is designed for the EX-1 lens and will stay sharp at wide open apertures.

Lenny Levy

I'm loving this cam at the moment.
http://www.vimeo.com/1274572

Just posted a new balanced and saturated PP in the Recipes sticky, for those that might want to give it a try.

Real Color 1 and Real Color 2 are color matrix settings to raise saturation to or near maximum while holding all vector angle as much as possible.

These settings give a fully saturated look without color shifts on my EX1. YMMV. Let me know how it works for you.

(It does not, unfortunately, address the reddish black problem)

I am finally starting to use my new EX1 and I noticed that the first 30 minutes contained a lot of wavy footage when panning. I set everything to default and auto mode and noticed that the images waved when panning - even slow panning produced this. It happens sometimes when tilting but not as bad. Anyone know why.

I also noticed it here on this person's video:

http://hawaiigoesfishing.com/videos/hgf_103_ulua.mov

and this one's:

http://www.vimeo.com/1230454

Is it normal for the image to wave when you pan? Is there any way to set the camera to avoid it?

Could it be normal when OIS is on?

Also, when using Clip Browser, I can't find a setting to play all the clips in the preview window. Every time I start and stop the camera it creates a new clip folder that can only be played one at a time in Clip Browser as far as I can tell. That is really annoying.

John

Can someone with the Sony WA please post a screen gram of the EX1 full wide with and without the attached Sony WA...I have searched and have not found this, lots of discussion but no direct compare pics...If there is a thread I missed by all means just point me the right way.


Thanks!

Has anyone compared these?

might be of some interest....

http://www.sony.co.uk/biz/view/ShowContent.action?site=biz_en_GB&contentId=1209376196252

I thought for sure I'd read some recipes for improved LCD settings on this board but can't seem to find them anywhere. Can anyone point me the right direction and/or repost?

Thanks.

I'm not sure how this goes but I started another thread here:

http://dvinfo.net/conf/showthread.php?t=126358

and I need to get it sorted ASAP

Anyone want to take a shot at it?

From FreshDV (if you don't know about this site, you should)
For those new to the XDCAM EX workflow, here are a few guides from Sony that will help you get all your non-linear editing ducks in a row. They have PDF workflow guides available for Apple Final Cut Pro, Avid NewsCutter, Thomson Grass Valley EDIUS and Sony Vegas 8.

On to the Sony micro-site
http://tinyurl.com/DVinfo

•Apple Final Cut Pro
•Avid NewsCutter
•Thomson Grass Valley EDIUS
•Sony Vegas 8

Nothing for Premiere Pro. But I bet you could hack something together from the others.

Hi!

Im going to shoot backstage, travel footage on a tour that features 16 musicians. I have my EX1, only one camera. Im thinking either getting two wireless mics and use the EX1 mic, or maybe one wireless and one shotgun. Does anyone have experience on how to handle this kinda situations? You need to capture the action and jokes as it happens with no time to set-up or mic individuals so maybe a shotgun would be best? And then use wireless for a little more planned situations?

Which mics you would recommend? 500-800 euros would be my budget for the mics.

Thanks!

Sami

Review of the EX3 by: Doug Jensen


http://www.bhphotovideo.com/c/find/newsLetter/SonyPMW-EX3.jsp

Anybody knows about some lease or special financing for EX3 from Sony or retailers???

Well, I finally found time tonight to sit down and try and register for my prime support for the EX3 on www.sonybiz.net/primesupport. And guess what, the EX3 is not yet listed in the 2nd page of the process where you have to select the model number from a drop down list!

Just posting this so others know to wait a few days for Sony to catch up with the fact that EX3's are now being delivered! :-)

Just received the $500 NAB 2008 rebate check today.
send the forms back on 5/27, so about 10 weeks.

to refresh your memory, this was for attendees of the Sony NAB 2008 trade show in las vegas last april 2008.

The client wants SD PAL 16:9 footage to mix with other footage shot with high end pro SD cameras on the ground for broadcast TV in PAL land.

I must deliver SD PAL 16:9 footage, of the highest quality. I have three cameras: a FX1, a V1P and an EX1. The EX1 is my preferred camera for the shoot but hardly a preference based on much experience.

The subject includes two scenarios both shot from a Hughes 500C rear door removed: the first a daytime sporty shot following a jet boat up a tight river canyon, no more than one hour shooting. The second a series of shots of a fireworks display, yes, at night of course, and over a three hour period at most. (How safe is this, do you think?)

So my questions are: which camera, what settings, and suggestions regarding workflow please most appreciated.

Craig Seeman, if you are here, many thanks, I have viewed your EX1 fireworks footage at Vimeo, very nice, I note your settings, I shall take that as a point-of-departure if shooting with the EX1. Given that this will be shot out of a helicopter and delivered down-converted to SD would you change anything? How about shooting 720p slo-mo 60 frames/second and printing back to tape DV PAL widescreen from Vegas 8, or is that asking for trouble? Yes, I know; the client wants (vanilla) SD 16:9 PAL.

I recently shot footage using this helicopter type and the EX1, normal daylight, lovely day with minimal cloud, 1080 30p, auto everything as other than keeping the camera pointed more-or-less in the right direction I was powerless…and that footage, rendered off in Vegas using the DVDA Pal widescreen template, looks just peachy, the resultant DVD a pleasure to behold on any half-decent neighbourhood TV screen.

Trouble is I can’t even do any test shots as fireworks are heavily regulated here in New Zealand. I’m told it’s illegal, without a special permit, to sell and/or ignite fireworks at any time other than a 3 day period in November, something to do with that English crazy terrorist Mr. Fawkes.

Suggestions most appreciated...

I've noticed on the EX1 (and I suppose other cameras) that there is a "safety zone" frame that is available.

Now this may seem a rather rudimentary question, but exactly is it there for? I could understand if you were using it near 95% or so to simulate what might be lost behind the bezel of a television, but with settings down to 80% on the EX1, why is it there?

I wish it would go to 67% so that I could have a 1280x720 guide frame, but this is not an option.

Thoughts?

I have been asked to bring my EX1 along to a vision mixed multi-camera shoot but don't want want to disappoint too much. Quite frankly, it's a sort of Z1/MX50 level gig rather than a full-on OB but somebody has an SDI vision mixer with the equivalent of TBCs, and two of us have EX1s.

Anyone tried this combo? Does the better glass and wider latitude win over the slightly crunchy image? Or should I dust off the Z1s?

Or should I be recommending SD Analogue component? Have to be careful that we can get a VM that takes Component and TBC's it as we can't do genlock.

Hi

Just ordered an EX3 from a NY Dvinfo sponsor and was told there will be an 8gb card offered by sony via the sony website on Aug 15th!

Chuck

I'm shooting this afternoon for the first time in SP mode - 1440 x 1080 50i, to match up with two other HDV cameras.

I notice that I don't have the option of 1/50 shutter speed, but 1/60.

I've had a test shoot and it looks ok, but I was surprised I couldn't select 1/50.

Anyone know why?

Cheers.

EDIT - I've had a search and read, and it seems switching shutter off will give me 1/50, same as frame rate.

Sony XDCAM Viewer PDZ-Vx10 version 2.11

I give this player to my clients so they can view the raw mxf files it also as four channels of audio.

https://servicesplus.us.sony.biz/sony-software-model-PDZVX10.aspx

Just thought I would let people know that I can play EX1 mxf footage on my HP 2133 (mini-note) using VLC Player. It is not quite 100%, but I would say it ranks about 98% or 99% as it has very few hiccups.

I had also tried the Sony XDCAM Viewer, and it was horrible, maybe 40% (or less).

I should also add that I have the 1.2GHz version of the 2133, so I would guess the 1.6GHz version should be able to play 100%. I am also running Windows XP Pro SP3.

Hope this is of use/interest to someone.

I have an older Sony SD monitor that accepts RGB plus sync in. I would like to use the monitor with the EX1 and RGB in. There was an old trick that if you fed the composite out of the camera into the sync in and then the rgb's into the appropriate inputs all would work. in the EX1 's case the composite out gets diabled when RGB out is selected (thanks sony) any thoughts?
Best, Craig

PMW-EX3 Camera Tour on Vimeo (http://www.vimeo.com/1592484)

This guy took delivery of his EX3 n did a first hand intro for EX3 prospective owners. Chk it out. It isn't on HD as I understand due to a bandwidth problem.

hi all,

i use 2 EX1 in my most recent work 3D in stereoscopy.

the end result is very good in 3D.

more info: http://www.dvinfo.net/conf/3d-stereoscopic-production-delivery/128808-first-3d-experience-fullhd-portugal.html

I need opinions,

thanks, Marco Neiva.

Hi

Could someone with v1.11 firmware check whether the 'Push AF' button now focuses only when pressed (like the Z1 and many others) or whether it still auto-focuses until the camera decides to stop?

Cheers, Nick

Has anyone done this yet, if so could you explain how it is done.

Am not very PC literate and it is confusing me!!

Not all used together, but this week I was shooting a doco on Cape Cod and the director had the new Red Rock Mattebox which we used with my EX-1. We were shooting with stock camera, no adapter. The mattebox itself is quite nice and definitely a bargain for the money (compared with items like the Chrosziel). Solid construction indeed. Its big. We were doing some handheld shooting on a boat and it was heavy. The current configuration does not allow you to close the LCD which is annoying. Apparently Red Rock is making a little extender donut type device to move the mattebox away from the lens and clear the LCD/mic. There are some existing lens hoods that I guess do the trick to. The problem I see with this is that when the lens is fully wide you will have to use larger 4x5.6 inch filters to avoid seeing the side of the filters. We were using 4x4s and even with the mattebox close to the EX-1 lens I had to remove the furthest out filter tray because I was catching some edges of the tray. If using a 35mm adapter I think 4x4s will be no problem, but as a mattebox for just the EX-1 it may pose a few configuration problems. And again, its big, and the swing away is unnecessary for the EX-1 itself. But still quite nice and I will likely get one, but may look for something smaller when I am not using the adapter.

We also shot that week with a new Ewa-Marine splashbag (the VEX1, I think). We were shooting some reenactment pirate scenes with rain machines and it worked very well at protecting the camera. It has a little sleeve for the LCD which is nice, as well as little indented nipples to get to all the controls and buttons. Its a little tight to get in and out, but it seems very secure and dry. Just be careful of letting the thing overheat. We were shooting at night with cold rain, but I would not let it sit in the sun with the camera on or the bag will become a sauna. We also took it for a dive to do one underwater shot. Now I had never done any underwater filming and in fact it was my first open water dive. The bag is rated to 30 feet deep. We went about 15. I was shocked at how much the air compressed out of the bag and it was so vacuum sealed that it made getting to the controls pretty impossible. I think a Gates or similar housing would be much better for serious underwater work, but for much less money it did the trick.

B

I'm interested in providing 1920x1080p footage from my EX1 to iStockvideo and pond5 etc. for sale as stock clips and I would be most grateful for any light anyone can shed on the following file format issue.

Here is iStockvideo's FAQ on acceptable formats which is pretty typical for the prosumer stock-footage industry as far as I can tell:

Clips must be encoded with MJPG-A/B, PhotoJPEG, DV, or HDV, at BEST setting.
royalty free stock photography community | iStockphoto.com (http://www.istockphoto.com/videographer_6.0_requirements.php)

Using Vegas Pro 8.0b, I have rendered my EX1, 1920x1080p mxf clips to all of the above Quicktime 7 *.MOV formats (including MPEG-4 Video) with predictably shaky results except for HDV. The HDV render at 1280x720p yields the best looking results but obviously it's noticeably down-sampled.

These same original mxf clips playback perfectly from the timeline in Full Preview mode and they look good @ 1920x1080p when rendered as Main Concept AVC/AAC (*.mp4) - not acceptable to iStock.

Bottom Line: How can I satisfy iStock's .MOV format requirements without downrezing my footage? Does Main Concept have a solution for this? I can't find one. Or Sony? Or Apple? Ideally, can I re-wrap a .mxf file in a .mov wrapper (using a PC)? ...

I recorded myself speaking to the Senny ew112e wireless kit with the moni ME2 mic. I was only a meter away. The recording had a high pitch sound before I spoke. Once I started talking it was unnoticable. EX1 was set to auto for the audio. -41db, linked AGC, 1kHz tone on. The mic was set to -20db.

What can be the cause of this high pitch? I removed it with a HPF but my voice became less sharp which I didnt quite like. Is it the 1Khz thingy? If yes, may I understand what is the purpose of the tone?

Thks!

Has any one of you tried to make prints in photographic paper from footage of the EX? I've just tried, and the results are amazing!

Of course, the use of progressive footage is almost imperative. I've extracted some frames from the same dance festival I put some clips (http://www.dvinfo.net/conf/ex-series-sample-clips/129148-couple-videos-dance-festival.html) a week ago (shutter was set to 1/100th of second to get good stills), and tried different sizes of paper.

At 20x25 cm. (8x10 in.), the pixel starts to become visible, without being objectionable (to my taste, and to the taste of most of the customers). And the advantage of choosing the exact frame where the dancers are in a good position and without eyes closed blows up the inconvenience of the "limited" resolution.

And colors are just nice! Only correction I had to do was to adapt the file gamma to that of the laboratory's printer, just a "Levels" correction in Photoshop, setting the central slider to 1.4, and here you go.

Excuse me if this has been addressed before but my search didn't really seem to find a solution.

Who here has the best solution to convert 1080i60 to play nicely in a 1080 24p FCP timeline?
Simple De-interlacing still has a bit of judder. I tried a conversion in After Effects via Video Co-Pilots preset but still have judder. It is a jib shot but not awfully fast. I've never used Cinema Tools. Is that an option really?

Hi,
Any one tried a 32 Gig card with an EX-30?
Thanks

Gérson

See the news at: http://www.dvinfo.net/conf/digital-video-industry-news/130698-ibc-news-jvc-alliance-sony-support-xdcam-ex.html
-- please use that thread for any replies (thanks in advance).

Using my adapter for shoot tomorrow, had to put on CamMate jib today.
Just an FYI, works great. Works with Canon or Fuji lens-adapter port just simulates the port on any bigger camera, under port for zoom control works as well.

Just don't drop it!!!$$$$$

I can copy one clip at a time between cards, but is there some way to copy all of the clips from one card to another?

I'm trying to find the "counter" facility on the EX3 but cannot find it - I'm assuming that it is not available.

There is the timecode option or the UB option or the duration option. Usually on shoulder mounted cameras there is also a counter option where one can reset the counter to 00:00:00 at any time (without resetting the timecode).

I've also checked the menu but with no luck. Any help?

I have two 8 Gb SxS Cards in my EX1.
I always format the cards in camera (rather than delete clips).

Both slots in the EX1 show 28 mins available when the cards are freshly formatted.
(Shooting 1080 25p).

I start recording using card A in Slot A and when it's full, the camera automatically starts recording to slot B but when I download the BPAV files, I find that card A's BPAV is only 4.7 Gb (showing 0 mins available in camera) whereas card B's (from slot B) is over 7 GB.

I have yet to try swapping the cards (use card A in slot B etc) but intend to do that today.

Anyone have a similar experience or knowledge of this problem?

Manfrotto 521EX - REMOTE CONTROL SONY EX1 (http://www.bogenimaging.co.uk/Jahia/site/biuk/pid/15913?kindOfProductCollectionRequest=productDetail&productCode=521EX&productDescription=REMOTE%20CONTROL%20SONY%20EX1&curBrandId=MAN&market=MKT2)