Need of codes....
I hope this will help
4 XLR ins:
Get the Canon MA-300 adapter and get yourself 4 XLR inputs. Perfect for a couple of wireless lavs, a boom, and another mic. Sure, it's less data for the audio channels, but it's plenty for voice recording. Sure, you can't digitize audio 3&4 easily, but it is possible, and it's just so darn useful to have four audio channels in the field. (Also, you can easily mount the wireless lav receivers right on the back of the camera.)
Using the Canon on-camera mic via an XLR input:
Say you're using a single boom mic, inputting via XLR 1. You've got XLR 2 doing nothing, and the on-camera mic doing nothing. Seems a waste. Well, all you need to do is adapt the on-camera mic to input through XLR 2. A short female-mini-to-male-XLR adapter will do for the audio signal, but the mic needs power. Simple, just get a short micro-mini extender cable, plug one end on to the mic, and the other into where the mic's connector would normally plug, on the camera's handle. Make sure the mic is switched to stereo, and voila, you have a second XLR mic.
Monitoring in the field:
Though many people told me it couldn't, the XL H1 downconverts to NTSC on the fly during recording, so you can plug a little monitor or deck into the video and audio out jacks and have yourself a video tap. Perfect for the director who wants to see what's going on through the camera. I used a little DV camera, and recorded it all so we could have a playback tape if needed. Very useful. (Note that the output NTSC is anamorphic, stretching the 16:9 image over the whole 4:3 frame. A monitor with a 16:9 switch is useful, or something that automatically adapts, such as what I used, a Sony PD-100 DVCAM camera.)
Native slow motion:
In a 24F project, shoot 30F and use Cinema Tools to slow down the footage to 24fps for a slight slow motion effect. Use 1/60 shutter speed for a standard look, or 1/30 for a slightly dreamier feel.
Sep 15, 2007 |
Panasonic Proline AG-DVC7 Mini DV Digital...