Bill Paris
Forum Replies Created
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Yes I did cross post on the P2 and FCP forums to get some different opinions. Since the camera is in the “Device” mode I don’t think it will send power via firewire? I believe the computer should see it as a drive…… if the camera were set to “Host” mode I could see your point about having it hooked up during start up. Thanks for the info though, I’ll look into it more as I work my way through the problem.
bp
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Perhaps Apple believes it can add a broadcast component to Mac World…. invite the vendors it partners with and save money by consolidating it’s effort into one show? At this point they’ve penetrated the broadcast/production market enough, they may feel they don’t need NAB to be a post production force moving forward?
Personally I’m dissapointed they’re not going to be at the show, since they always seem to have something new to offer and I always learn something from the guys on the floor. I guess I’ll have to go to Mac World now….. that’s not all bad considering the it’s not held in Las Vegas.
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Peter,
Thanks for your input, I was just looking at the Kata case earlier today and wondering how it would work. Does the case fit into the overhead compartment of most airlines with the trolley attached?
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Robin,
I never thought about putting my clothes into the other case and switching everything once at the location…. very interesting approach. I have friend who breaks his camera down into a rolling 1510 Pelican Case, keeping the lens in his day pack. Many of my shoots are day shoots, so we hit the ground running. I’ve even carried the camera without a case, resting it on a jacket in the overhead, but I don’t like having the camera that exposed. Please keep the ideas coming…. the hardest part of the process is laying the camera on the belt, hoping the security person catches it before it hits the metal rollers!
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Steve,
Thanks for the feedback….. sorry to hear about your viewfinder! Yes the airlines are great at treating your gear rough, then taking no responsibility for the damage. I recently had my Arri HMI banged up enough to break the reflector, leaving the bulb hanging out of it’s socket…. I can’t imagine what kind of force it took to do that through a anvil case packed with plenty of padding! Perhaps a case throwing contest between the guys loading the plane?
One question….. have you used the Smuggler Case? I was wondering how it performed as a “car case” around town. I usually keep the camera on the back seat in the case, then pull the camera out for B-Roll or to take into locations for interviews, etc… I know there is no perfect solution, but the case has to work running around town in addition to being good for going through airports and on planes. Thanks again for the feedback.
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Rich,
Yes I am THAT Bill Paris….. great to hear from you! Please conact me via email so we can catch up.
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Reading this thread has been a great insight into your journeys in this business. Thank you for sharing your personal stories, feelings and thoughts about the future in this business.
I’ve been in the business 25 years, starting as a Chryron III operator at our local ABC affiliate.I learned CMX, Dubner Graphics, Grass Valley 300 Switcher, etc. and eventually moved into news shooting with a 3/4″ deck and a Sony M3 Camera. I got lucky and landed a job as a photographer/segment producer with a magazine program running in prime time on Sunday nights at the local CBS affiliate. We did local feature stories of all kinds and traveled to over 15 countries shooting eveything from extreme snow skiing to a guy who lives with 100 kangeroos. After 17 years the show was cancelled (It actually ran for 25 years!) and I had to move on. Today I freelance for network news prgrams, Discovery, History Channel, ESPN, etc….. (anybody willing to pay the day rate!). Like most of you I’ve had to work on other peoples productions to pay the bills. I’ve also produced a few home videos on the side which gave me the opportunity to create my own content.
The reason I wanted to respond to this post is to share a couple of thoughts I have about what this business can be for all of us with the knowledge and expereince gained by striving to excel at our craft for many years. I’ve been lucky enough several times to experience a moment when I say out loud….”I can’t believe their paying me to do this!”. I don’t know of many jobs that can offer a life where you find yourself saying those words. For me it’s the ultimate goal….. develop and/or work on a show that takes you to places, to meet people and do things you would otherwise pay for. If you had all the money in the world what would you do with your time and energy? Are there millions of people out there that would do the same thing? Can you build a show about it? Perhaps a video podcast? The internet has already changed the way people find information and will soon change television as well. Who’s going to produce this content? Why not you and me? We have the knowledge, experience and the tools. I hear alot of you complaining about how it’s not the same and I agree, but I see opportunities that never existed before. I hope we can all find ourselves saying “I can’t believe I make money doing this!” as we reinvent ourselves for this new and exciting era of television.
Bill Paris
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Ed,
No I havn’t tried to reduce the fan activity, but will take a look at the menus and see if another setting may work. I’m a little apprehensive about this since the camera runs hot and I live in a fairly warm climate. Today I talked with the folks at Location Sound and ended up ordering a Sanken Shotgun Mic which is shorter than my Sennheiser 416…… I’m hoping this will at the very least be better than the mic which comes with the camera. I’m going to try to put rubber bushings in-between the mic and the mount for isolation, but if this doen’t work well enough I’ll add a shock mount from K-TEK. I’ll make a new post when I get the rig together. Thanks for your suggestion!Bill Paris
Crew Hawaii Television -
Danny,
If your used to getting $2000 per day sounds like you’ve been working on commercials or feature style projects? I’ve been shooting television programming for many years and have found the rates to be much lower. The lowest rates are actually being paid by the networks. If you do a shoot for NBC News, Dateline, etc….. they have a base rate just under $400 per eight hour day. We used to be able to charge them a package rate for yourself, a soundman and gear, but thats been changing over the years. Now they dictate the hourly crew rate and very low rates for the gear.
Reality shows are paying about $600 per 12 hour day. Travel days are often paid as half days. Some guys call a half day 2/3 of their day rate, others a straight half.
Don’t forget to negotiate your per diem if your on the road. I’ve seen it on the low end at $50 per day and $100 on the high end depending on where your shooting.
I hope this helps….have a great shoot!
Bill Paris
Director of Photography
Crew Hawaii Television
http://www.crewhawaii.tv -
Shane,
Thanks for the information, I’ll view the footage via my HD monitor once I get the Kona 3 card insalled. Out of curiosity…….do you think a cross convert to 29.97 via the Kona 3 card or using the revisionfx effect would minimize the motion artifact? At the time I was shooting the footage I was going for a film look, but I think the next time I get the opportunity I will overcrank or at the very least shoot 30p.
Bill