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Seeking Basic Introduction to High Definition Filmmaking: Panasonic & Sony
I am new to the world of High Definition. I have been researching the internet for a general knowledge and answers to some basic questions. I came across the Creative Cow site and would appreciate any responses. First, funding in just about in place for a historical documentary that will be shot in my state of Kentucky mid to late summer. I think this is a rare opportunity to be able to shoot in pure HD as the funder have pretty big pockets.
After doing some basic research, I’ve learned a basic knowledge of the Panasonic AJ-HDC27A as well as the Sony CineAlta 24p. My first questions concern the Panasonic camera. This might sound rather elementary, but keep in mind I’m new to HD, but I notice the Panasonic camera lists for $65,900.00. My first silly question is this: does that price include a general lens good enough to shoot a film with or does it contain the “body-only”? I notice that it says the lens and viewfinder is optional. Is this optional in the way that the price covers a basic lens and you have the choice of purchasing the body-only? If so, would that put the body-only in the $40,000 range, and leave room for a person to purchase a Zeiss DigiPrime lens?
Sure, theatrical release would be a dream come true, but our plans with the film are television broadcast only and DVD sales. Ultimately, my questions are this:
With either the Panasonic or Sony HD cameras, what are the absolute “basic” needs to make an HD film, from production to post production? We have Final Cut Pro HD.
Once again, I’m new to HD and are just anxious to learn a basic knowledge of what it would take to make an HD film.
Thanks for any responses and I look forward to viewing any comments.
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10 Replies
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Yikes!
I’m afraid you’re a bit lean in your cost estimates. A VariCam Body and Viewfinder will cost you around 60K and an HD zoom lens is in the neighborhood of 30K; the camera does not come with a “basic” lens and many shooters prefer two lenses, one wide, one long. I’ve not checked the price of the new Zeiss Digiprime Zoom, but a set of the Zeiss Primes costs even more than the camera itself! I’m pretty sure the zoom is lofty and you’ll still need a wider and a longer lens or lenses.
You’ll probably want an on-camera LCD, such as the roughly 5K Panasonic, and a client monitor such as the Panasonic 1700, a bit over 3K, or a CRT, which is even more, sometimes a great deal more. Of course you’ll need a minimum of four batteries and a charger; the HD cameras burn through power at a brisk pace. I don’t go out with fewer than eight Anton Bauers when AC power is not available or we’re moving locations too fast to charge.
The CineAlta body costs more than the VariCam, but the rest of the package is about the same. I believe you need a few more items with the Sony, converters to SDI. I’m not a CineAlta shooter, but others around here are knowledgable.
You can surely get a discount on the gear, but it’s still not what I consider an inexpensive proposition.
Preferences vary on what is absolutely necessary from Production through Post. You’ll need a good sound package unless your Boom Operator is providing their own. This could range from a Schoeps and Boom to a full kit with Radio Microphones.
I’m sure you’ve accounted for Camera Support & Dolly and Grip, Electric, & Lighting Packages. These are the same for HD as any other format.
In post, you need HD editing with a large, fast Disk Array, Scopes, and HD Monitoring.
Good shooting!
Leo
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Actually, I figured as much, and forgot to even mention the Panasonic camera body and viewfinder “only” for the 65 grand tag, which was another way of looking at it. I thank you so much for making the official confirmation, and as mentioned above, find that just typical. I didn’t figure the camera came with any sort of “basic” lens, but I just had no idea. So basically, for the camera body, a lens (I do believe DigiPrime 20 is roughly 40,000) and a viewfinder, one can expect to drop about a hundred grand for those three things only. Sound for me is not a problem as a fellow friend and business will be taking care of all of that and the same goes for dolly, tracks, and all that good stuff. So, in addition to the camera, lens and viewfinder, you recommend a 5-grand LCD monitor to go on the camera, a separate client-monitor for 3-grand. Makes perfect sense. Let me ask you a little more about DVCPRO tapes and post production. When you speak of a disk array, can you give me recommendation on a large, fast one? Also, educate me on this: can the DVCPRO tapes be re-used, for example, like MiniDV tapes? What kinds of tapes would I need to get the most amount of footage on one? Let me set up an example. I’d appreciate more information from you, a general walk-through…
Basically, you go out, shoot the film, light it, etc., just typical production, and shoot it in 24p. What are the next steps? Does the camera output into a Mac G5 with Final Cut HD? Does the footage have to be converted to another format before being digitized into Final Cut? Does the footage really have to be converted into 24fps in order to get the “look” of 24?
I know this all seems elementary. That’s because it really is, honestly. I’ve been cinematographer on all my projects, and have had much success with cameras like the XL2 and the affordable Panasonic 24p cams, but might be on the verge of getting my hands on enough funds to purchase something like above. So, if you don’t mind, just keep filling me in on the basics. I need a teacher in this. And I thank you endlessly for supplying some basic answers. Look forward to hearing from you again.
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There is nothing unique about shooting HD as opposed to shooting film at 24 fps or an SD video camera at 24p, except, of course, the increased resolution and dynamic range, the picture quality.
You do not “convert” the footage to 24 fps, you select that frame rate in the camera and shoot and edit that way. There is a profound filmic look to shooting at 24p with a 180
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Thanks again, Leo, for the response. I will certainly research into the forums and archives, but wanted to get some basic information before I look further. You have provided me with a wealth of knowledge already, I assure you. In response to a few things you mentioned, we do not plan to re-use tapes as we do preserve our originals, so it was more of a technical question than anything. Concerning the lens changing: if all goes well, there will funding to provide a general camera, lens, viewfinder, disk array…things like that. Unfortunately, nowhere near enough to purchase “several” lenses and there won’t be the money there to really rent a wide variety, either, though who wouldn’t want access to several lenses? Yeah, that’d be nice. I guess I’m trying to say that since both of those things are relatively impossible, renting or buying even a couple lenses, I’d have to find something that could serve as a general medium to wide shot and just have to accept that the majority of the film would be shot this way, therefore this raises the question, what is the best lens for my overall shoot as no doubt I will have to be limited with lens choices. Thanks for your help.
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Get a good wide zoom, such as a 13×4.5 MM Fujinon or 11×4.7 Canon.
Good shooting!
Leo
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Thanks Leo; so very appreciated.
John
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You should seriously consider renting the camera package you need from an qualified rental facility or owner who not only can provide the gear but the necessary engineering expertise and/or operational procedures which are essential to maximizing the most out of the camera.
Equipment along without qualified personell is worthless.
Don’t waste your money buying gear for a one time project when in the long run it is more cost effective to rent what you need and get the most out of your production budget.
Tony Salgado
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If you have the time before the project begins, I would highly reccomend the Varicamp 3 day seminar sponsored by hi def expo. I am always sceptical of both the time and the money for seminars, but if you are new to Varicam this is worth every penny. As a matter of fact, after the first hour, I knew I made a great decission.
Also I would strongly suggest you look at the entire work flow and do a test or 2. Lots of confusion out there and you don’t want to assume that vendors are going to be totally in sync with your needs, budget or what you want to do.
J
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If you have not already purchased a varicam I strongly suggest you check one out. We have owned a varicam for several years now and our clients and staff absolutely love it!
Before production starts on your project your producers and DP should decide on an overall “look” of the video. You can add a lot of looks in post as well, but this can get expensive if you don’t own the edit system. The setups can be almost daunting to an inexperienced DP with this camera so I highly recommend you have an experienced tech run you through all the menu items. Once your “look” has been agreed upon save these settings on an SD card for safety.
One item that I have not seen posted on this thread is the paintbox that can be purchased to use with this camera – it is INVALUABLE! Changes can be made quickly; all those menu items are at the engineer/DP’s finger tips with dials for quick adjustments rather than going through the slow and tedious menu settings directly through the camera. Please feel free to contact me if you would like to see our complete setup before you start, we might be able to help you make smart purchase decisions before you budget all your funds.James
DP – Post Time Productions -
Thanks so much for writing! You are exactly the type person I’m looking to speak to! Let me ask, so as not to irritate some of the frequent visitors to this message board if you and I can exchange e-mails in private? I’ve been told to research all the archives for the answers to my most general questions, but in most cases, the answers found are more advanced than I need at this point, yet some folks are almost offended when i write just general questions and clutter up the message boards with relatively “basic” amateur questions. after all, how is one expected to learn HD if they’ve never shot it before? i appreciate your kindness and have a whole slew of questions i’d like to ask. we have not purchased an HD camera yet, so before doing so, i’d like to speak to someone who is patient for a few questions. please respond to me at ( jcoulter@tunnellmill.com). Look forward to hearing from you!
Sincerely,
John Coulter
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