[Bob Woodhead]

Don’t know of any way you can know, other than looking for burn-ins or other oddities. 14″ would be rather large to lug around for shoots (assuming it’s a small crew). Keep looking, and meanwhile, set up a consumer tv you might already have, and do your best to calibrate in that “blue-only” workaround.

[Bob Woodhead]

The classic argument (& perfectly true) is that consumer monitors don’t use SMPTE-C graded phosphors, don’t have a “blue-only” setup to accurately adjust color, nor do they have the resolution of broadcast monitors. So if you do any color-correction or graphics, what-you-see MAY NOT be what you get (using consumer). That said, it’s far better to AT LEAST be watching your output via a TV, and not just a computer monitor. Main reason is that the gamma of computer displays is quite different (usually darker) than that of tv’s.
So… in your case, I’d suggest looking on eBay, etc, for a used 9″ portable broadcast monitor (doesn’t have to have battery slots, but a DC-in is nice.) Reasoning is you can take “on location” to GREATLY assist your lighting setups (for corporate work), your clients will dig watching you work through it, it’ll look (& is) more “pro” on set, and finally, you can use it as your editing monitor. Should run around $300-500 used on eBay. Make sure it has “blue-only”. Google that to see how to use it – in the meantime, there are work-arounds to set up a consumer TV via a “blue-only” method (Google will find it).
Good luck, happy shooting!

“Constituo, ergo sum”

Bob Woodhead / Atlanta
http://www.CoolNewMedia.net
Quantel-Avid-FCP-3D-Crayola
Panasonic HPX500

[Bob Woodhead]

Thanks for the feedback. Would you recommend a promist over a soft (the new softs from Tiffen/Formatt designed for HD)? From the sample images (as IF you could make a decision via those!), I prefer the promist, but no idea how they’ll play out in the field.

While writing this reply, my ignorance overtook me, and I had to go turn on the camera (HPX500) and see just how much I could slide the 4×4 stage vertically (as you would to position a graduated ND). I was *surprised* at how much I could “cut into” the glass, without seeing the esge of the filter tray onscreen! This was with a Fuji 17×7.6 – can I assume that with a wide angle adapter (or lens), there won’t be as much positioning lattitude? How to adjust a ND grad then? (PS – my Cavision mattebox has 1 rotating 4×4 & 1 fixed 4×5.65)

[Bob Woodhead]

P2CMS software – free from Panasonic. It won’t export an XML log, but it has a viewer, etc, and the producer can note TC’s manually. If exporting the log to an EDL is critical, do a search on “HD Log” from Imagine Products.

“Constituo, ergo sum”

Bob Woodhead / Atlanta
http://www.CoolNewMedia.net
Quantel-Avid-FCP-3D-Crayola
Panasonic HPX500

[Bob Woodhead]

And BMX is a kind of bike…

[Bob Woodhead]

Echo all of Leo’s suggestions, and add that you don’t need to eliminate shadows on the greenscreen (talent shadows, that is) – your compositor can use these as keyed shadows, or, they’re usually easy just to eliminate. More importantly, don’t let your talent wear anything shiny!!! Highly polished shoes… FUGGITABOUTIT. Big shiny reflective jewelry… nooooo. I’ve done greenscreens with lace, smoke, wispy hair… no headaches…. but then the talent comes in wearing shiny black vinyl, and it reflects green everywhere! Wot a headache.
With moving talent you’ll probably need more lights (as suggested) to keep things even as talent moves. *not* hot lighting… EVEN lighting.

“Constituo, ergo sum”

Bob Woodhead / Atlanta
http://www.CoolNewMedia.net
Quantel-Avid-FCP-3D-Crayola

[Bob Woodhead]

Power up front would be OK, but I’d prefer a 2nd 4-pin Hirose, like Pana already puts on the rear of the HPX500. BUT… that’s only a 12v 1.5A output, so about 18W. The Marshall monitor I’ve got on my 500 draws 25W, so better to power off the AB Powertap anyway.

Jan, if you see this, so far I’m LOVING my 500!

[Bob Woodhead]

Yup, I’ll have data redunancy out the wazoo in Step 3 of my workflow – MXF on original “field drives” & copied for editing onto a RAID3 array.

Thanks, and any other comments regarding P2 & data workflow greatly apprecated!

[Bob Woodhead]

Thanks Shane… oops on the RAID0… I’ve used RAID3 for so many years & forgot 0 or 1 = mirror.
I guess I’ve got to see the folder/file structure to understand the “CONTENTS folder and the LASTCLIP file” issue… you can’t create say “Day1Card1” folder & then copy ALL files from card 1 into there?

My edit workflow was going to be 1] copy MXF files from “field drives” onto editing RAID3 2] use Raylight to edit MXF directly w/o wasting time on import 3] shelve “field drives” until project is done to provide dual-redundancy to edit RAID3 4] archive finished project to LTO data tape 5] erase project files from “field drives” & edit RAID

[Bob Woodhead]

Actually, I can’t *wait* to have a 500 to slap it on!