[Bob Pierce]

From what I understand, the wide function in the menu switches the chromatic aberation correction for Sony’s wide angle adapter. Not sure how it works with the 3rd party adapters. The macro is necessary to focus with that adapter. That’s how it works. Other “zoom through” type adapters don’t operate this way.
Bob

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory –
Mac Book Pro 2.33 Duo –
FC Studio 2 – Kona Lhe
Adobe Production Suite CS4 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

Wow, those tiny images speak volumes. I’d love to get my hands on some short clips of the same shots, xdcam and nanoflash to see how it compares grading. If I can see an improvement I’d very seriously think about the purchase (got to get those last equipment purchases in before the end of the year!).
Bob

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory –
Mac Book Pro 2.33 Duo –
FC Studio 2 – Kona Lhe
Adobe Production Suite CS4 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

The 105 is a classic, and often called a portrait lens for good reason. I’ve tried all the focal lengths, but keep coming back to the 105. You can get a great interview shot with this lens and the camera about 10 feet away from the subject. The 85 puts you closer and makes a pretty picture also, but I tend to prefer the 105. Man, I do love my letus!
Bob

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory –
Mac Book Pro 2.33 Duo –
FC Studio 2 – Kona Lhe
Adobe Production Suite CS4 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

…and, XDCAM transfer is busted under Snow Leopard. As others have mentioned, you should do a fresh install on a new disk to try it out. I’ve been tinkering around with it (Color 1.5 is great!) and it seems so far so good, but for client projects I’m sticking with 10.5 for now.

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory –
Mac Book Pro 2.33 Duo –
FC Studio 2 – Kona Lhe
Adobe Production Suite CS4 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

Very nice work Michael. Did you you a tilt/shift lens on some of those shots or was that done in post? I’ve got a lensbaby for that kind of thing, but haven’t used it much yet.

Do you do your own grading? If so, do you care to share your picture profile recipe?
Bob

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory –
Mac Book Pro 2.33 Duo –
FC Studio 2 – Kona Lhe
Adobe Production Suite CS4 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

Yes. I do it all the time with my Letus, and have never noticed any degradation. Sometimes shooting interviews I need just a bit of flexibility with zooming (with a prime mounted). I wouldn’t push it too much, though. Phillip Bloom has written about this and does it himself.
Bob

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory –
Mac Book Pro 2.33 Duo –
FC Studio 2 – Kona Lhe
Adobe Production Suite CS4 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

If they offered the higher bitrate, they’d probably eat into the market for the 700. I’m curious to know if any of you use the Nanoflash and what you think of it. I’ve always been less than totally happy with the EX codec, especially when used for effects and grading. Noise, in particular is an issue. Of course, at 35mbps it is pretty amazing.

Also, does anyone have experience comparing EX to EX 422?
Bob

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory –
Mac Book Pro 2.33 Duo –
FC Studio 2 – Kona Lhe
Adobe Production Suite CS4 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

The 350 looks very interesting. Much better form factor, 2/3″ sensors, and what promises to be a superb viewfinder. I’m skeptical of this kit lens though. At it’s focal length, is doesn’t go very wide (8mm for 2/3″) and looks suspiciously like it’s derived from the EX lenses. Those lenses are good for what they are, but have lousy servo zoom functionality and truly terrible macro implementation. One can always put a real lens on there though.
Bob

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory –
Mac Book Pro 2.33 Duo –
FC Studio 2 – Kona Lhe
Adobe Production Suite CS4 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

As has been stated elsewhere on the Cow, it’s a good idea to ask your client what they plan to use for the keying, and determine the optimal exposure recommended for that product. Keylight, the keying plugin included with After Effects for example, recommends 74 ire. I think there used to be the belief, (shared by me) that a darker, more saturated green was desirable. Not true – 30 ire is way too low. You can pull a nice key with XDCAM, but you’ve got to be extra vigilant with the lighting and exposure.
Bob

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory –
Mac Book Pro 2.33 Duo –
FC Studio 2 – Kona Lhe
Adobe Production Suite CS4 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1

[Bob Pierce]

I have also found that EX 30p footage comes into FCP as 60i, which led me to believe that it was delivering 1080 progressive over the 60i video stream. Am I wrong about this or is something else going on?
Bob Pierce

http://www.lightstreamassociates.com

Mac Pro 2.66 – 8GB memory –
Mac Book Pro 2.33 Duo –
FC Studio 2 – Kona Lhe
Adobe Production Suite CS4 –
Sony Multiformat 14″ – Panasonic 42″ Plasma –
Ikegami HLDV7 – PVW EX-1