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Film may have better long-term archival stability. For theatrical exhibition, 35mm film still has a more uniform distribution and exhibition system outside the US and Europe. People like Chris Nolan prefer to use film because there aren't any widely-available digital processess that can do an IMAX-style presentation, with a huge negative area and screen. ...


3

The quality of the image is a big part of why film has been preferred for so long. This Wikipedia article (http://en.wikipedia.org/wiki/Digital_versus_film_photography) really outlines well the technical advantages. However, you asked about favoritism between the two formats. I think another consideration is cost, familiarity, and accessibility. When I got ...


3

You are over thinking it. Edit a quick beep in before the audio starts on the song, play the song aloud while you are recording the drums. Hit one of your drums so that you can see and hear it quickly on the video as well. Record the audio direct from your drums and have a third track that is the microphone for the camera. The camera audio track will ...


3

Most modern codecs will support whatever frame rate you throw at them. The choice is more of an artistic decision than a technical one. For the best quality, you should match the frame rate of your source or some even multiple there of. If you can choose on your source, then choose according to the feel you want. 24(23.976) is more "cinematic" and is ...


3

If your source footage is interlaced, deinterlace it. If your progressive frame rate is a constant 23.976, 24, 25, 29.97, or 30 fps, then keep the frame rate as it is, unless you require a very low bitrate and want to halve the frame rate. These are all widely supported frame rates, although other arbitrary frame rates below 30 fps will often work as well. ...


3

The cable in the picture is an analogue cable, so it's getting an analogue signal from your camera. It's just a cable, so the signal at one end is exactly(ish) the same as the other. To digitise it you'll need a device to convert the analogue signal into digital code. There is a big range of these devices, from cheap USB dongles on ebay like this to ...


3

Major cable suppliers such as Belden and GEPCO publish guides that correlate at least two factors: Signal bandwidth or SMPTE standard (standard def, HD, 3G, etc) Cable length There are three other factors that make a difference: the quality of the connectors, the quality of the physical installation of the connectors on the cables, and the quality of the ...


2

You should check your recorded video with MediaInfo. Regarding your problem, it shows, if the durations of the video and the audio is the same or not, if the interleave of the audio (the starting offset) is set correctly in which sampling rate your audio was recorded. Then, I would import your video file into Audacity (which imports only the audio, of ...


2

I couldn't find specific details, but it appears that ancillary data on SDI in general conforms to SMPTE 291M. I couldn't find any details about the specific implementations used for deck control. It appears like there could potentially be some variation between manufacturers or even particular decks since the ancillary space doesn't seem to be that ...


2

Your best bet to easily do this is probably to set up two cameras with half the field of view being used. Then simply setup a simple project that can combine the two and encode it for electronic distribution. If you want to do an all digital route, you are still going to need to run an encoding after the fact to get the size down, so doing the combination ...


2

You must use the proper formatting for it to be read by a DVD player that only reads standards compliant disks. Specifically, DVD Video disks use the UDF 1.02 format.


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There are a couple ways you could go about this. If you can do it in a single take, then you can record the audio and video at the same time and then simply sync them up and all will be well in the world. If you want to be able to do multiple takes, then what you should do is do it the way they make music videos. Do the audio first, make your recording ...


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Short answer: no. Long answer, maybe. You have very limited scripting ability via the auto update function of the camera. You simply drop a text file called "autoexec.sh" on the SD card before turning the camera on and the camera will execute the script. Though I haven't seen a script that would do something like infinite recording by erasing the oldest part ...


2

AJ Henderson and Craig have excellent answers. I'd just like to add my own knowledge about making miniatures look full-size. As far as I can tell, there are 4 factors that make a miniature look, well, miniature. 1) Lighting. If the train is supposed to look like it's outside, shoot it outside or next to a window that sun is coming through. Sunlight looks ...


2

Personally I use Pinnacle Studio to record the TV shows. I have used it to record over a 100 hours of TV footage till now and I'm pretty happy with it. What You Need TV Tuner Software to record. For the card you can buy Pinnacle TV Tuner (~ $70), but any compatible card will do. Many good cards are available for a lower price. Just make sure it has a ...


2

300 Feet is about as far as you can take SDI or HD-SDI; before it needs to be reclocked. So no, 150 M is too far. Also the quality of cable; and if it's being run in parallel with other cables that cause interference can affect how long you can go. You can reclock at the half way point using a distribution amplifier, and you'll lose 1 frame of sync for ...


2

It is best to match the source dimensions with your recoding dimensions. Using a larger number of pixels requires more data or bandwidth to encode the scaled source. You wont be able to make a sharper image as there isnt any additional information being generated and in fact the scale up might make the image softer or add artifacts like aliasing.


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Audio drift can have a couple of causes, dropped frames (which a TBC can help with), and unstable clocks, where the audio isn't recorded at quite the precise rate it should be, causing drift, as Michael correctly pointed out. Dropped frames caused by tape dropouts are a problem if the device skips a frame, without skipping the corresponding frame of audio. A ...


1

When overwriting happens, usually old file is removed. So, new file size is around 0 bytes. Here nothing to rescue. If you realized your mistake ASAP, in a few seconds, you can press RESET button. You will lost everything unsaved. Perhaps, even file system commit with new data, so old data will be here. Otherwise, your file lost. You can try to recover ...


1

If you are using old VHS player, then its head can be dirty Also VHS cassettes' tape can be dirty, but how I understand you using new cassettes. So, try to connect your VHS player to TV. If signal will be the same, you need to locate that thing: And clean it and head (black thing on background to the left) You can do it by yourself or maybe there still ...


1

The Blackmagic Design Tenarex 2D will convert a signal from interlaced to progressive on the fly: https://www.blackmagicdesign.com/products/teranex/processing It doesn't record, but there are very inexpensive recording devices that will take a progressive signal and give you a digital asset from that (such as the HyperDeck Shuttle: https://www....


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Based on this illustration, you are able to compare the sensor sizes of red cameras with film formats like 16mm, 35mm or 70mm imax and so on.


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All newer camcarders have wifi and can stream directly to a computer or even the internet. Here is a simple example http://shop.panasonic.com/support-only/HC-V250K.html scroll down to Real Time Broadcasting, Remote Shooting / Remote View


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Quite simply, the quality of digital only recently overtook film. Film is capable of capturing both high resolution (due to it's large size) and high dynamic range (due to it's chemistry). It allowed for very high quality images captured very quickly which was ideal for the film industry. Early in the development of high end digital cameras, the primary ...


1

The digital chain has so many advantages unrelated to quality that as soon as it reached a 'good enough' level for capture the playing field tilted for good in its favor. And of course it didn't stop improving at 'good enough'. As a taking medium, celluloid film still has the sort of hard-to-define characteristics that make some pine for vinyl music. But ...


1

The more I thought about my requirements the more I was convinced that I needed a wifi enabled "security" camera setup than an action cam setup. I'm giving dropcam a try. It seems to satisfy all my requirements. Broadcast without any additional equipment Schedule recording times remotely from anywhere Broadcast is automatically recorded in the cloud for 7 ...


1

I like Henderson's answer. I'll add two suggestions: consider using stock footage of the 'real' train. I don't think that would be cheating -- even pro filmmakers use stock footage frequently. The real art is in the editing; that's where the story- telling comes from. If you used stock footage of the train (one example: http://footage.shutterstock.com/clip-...


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The easiest way to make it look real would be to film a real train and then use a model of the same kind of train engine. You could use a macro lens to try and get a good shot, but the camera elevation will likely be too high still (unless the track is elevated). Putting the actual person on the tracks would be hard with iMovie as well since I don't know ...


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Adobe Encore can do what you are looking for. It is included with Adobe Premiere. You can either buy a copy of CS6 or if you only need it for the one project, you can use Creative Cloud to obtain it for just a month or two. In general, you will find most DVD authoring software comes in fairly expensive packages. It's not as easy as you would think to do ...


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The answer is always "More light". The higher the illumination of the sensor (within obvious limits), the less noise or grain. If you must deal only with ambient light -- you can't supplement or fill in -- then open the iris. However, in doing so you trade off depth of field, so it's a balancing act. Generally, avoid increasing preamp 'gain' to compensate ...


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