zak forsman d90 workflow

It still blows my mind that there isn't a manual mode on the D90 or 5d mkII, but thanks to people like Zak it is possible to achieve to have semi-manual control.
 
Interesting...while reading the blog I didn't get this part:

" before using the droplet, you must open the AVI files in QuickTime l-payer and “Save As” to give them the QT wrapper so that Compressor can handle them properly."

do you save it as a self contained movie or somthing else?
 
Can everybody refrain from telling the masses how great the D90 is until after I complete my prime lens collection!
 
Super8 said:
Interesting...while reading the blog I didn't get this part:

" before using the droplet, you must open the AVI files in QuickTime l-payer and “Save As” to give them the QT wrapper so that Compressor can handle them properly."

do you save it as a self contained movie or somthing else?
Click to expand...

yes, you'll need to save as "self contained". compressor will reject AVIs.
 
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Zak Forsman said:
yes, you'll need to save as "self contained". compressor will reject AVIs.
Click to expand...

Hey Zak...thanks for making that droplet...works real well.

One question though...in comparing both the original with the compressor created file....the new one looks slightly darker. Is that because of the settings in compressor?
 
no, it's nothing I've set in the droplet. If you put both files on a waveform monitor, you'd see the AVI's black level riding well above 0 IRE. I don't know how or why but somewhere in converting it to ProRes the black level drops to 0. you can always raise it back up in post if you like.
 
Zak, you mention stopping down the lens to f/8 or f/11, AE locking, and then entering LV, when I attempt to do that on my D90 with a 50mm 1.8, I cannot enter LV unless the lens is at f/22, then once I have entered LV I can change the manual aperture ring to whatever stop I need...

edit: Your method works if I twist the lens on to just before it clicks, then it reads it like a manual lens.
 
I recently was working on a project using a slate/clapper with my D90 I was recording audio with a H4. When I got into post to sync audio I found that the clap on the camera audio was 2 frames early, or the video was 2 frames late. Either way sync was off by 2 frames straight out of the camera. Zak, are you having this problem?

Also I sync audio before retiming the clip and don't see a sync problem.
 
I must be in the "Twilight Zone" at my house because Compressor accepts the camera .avi's Ok. I'm using Compressor 3.0.5, QT 7.6., OS 10.4.11
 
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Hey Zak which primes are you using in order of most used? I'm still trying to make up my mind which one's are essential. So far I have a 50mm f/1.4 a 28mm f/2.8 and a 105mm f/2.5 but I'm planning to go for faster glass. How are you going with the Nikon deal?
 
squig said:
Hey Zak which primes are you using in order of most used? I'm still trying to make up my mind which one's are essential. So far I have a 50mm f/1.4 a 28mm f/2.8 and a 105mm f/2.5 but I'm planning to go for faster glass. How are you going with the Nikon deal?
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i stick with my 28mm f/2.0 most of the time. cuts down on skew and warble a great deal than longer focal lengths. i go to a f/1.2 50mm in severe low light.
 
Zak Forsman said:
i stick with my 28mm f/2.0 most of the time. cuts down on skew and warble a great deal than longer focal lengths. i go to a f/1.2 50mm in severe low light.
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Yeah those 2 are at the top of my want list. So you haven't found a need for an 85mm? Or something wider than 28mm?
 
I just got a 28mm 2.0 and an 85mm 1.8 to go with my 50 1.4...I think that's gonna do it for me. If I need super telephoto I'll just rent something.
 
squig said:
Yeah those 2 are at the top of my want list. So you haven't found a need for an 85mm? Or something wider than 28mm?
Click to expand...
I own a 28, 50, 85, and 105 and any of them are fine on sticks, but I like the more fluid aesthetic of handheld and often shoot that way so i stick with the wider set to minimize the image warble. the 28mm is on the borderline for me as far as distortion goes. wider than that starts doing unpleasing things to my actors' faces.
 
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