[Bob Woodhead]

…”transfer the P2 footage to DVCPRO HD tape first, then recapture”

For your own edits? You’re not talking about creating an edit master for them, you mean you’re making “camera tapes” from P2 cards? Was there a rationale behind this? It makes sense if you’re handing over tapes to be edited by Discovery, but not if you’re handing over an edit master. They can cut promos from a split track master.

[Bob Woodhead]

Might try one of those bounce/diffusers on a twist-o-flex frame… the ones w/ a diffuser are like a 2-stop silk. Pour some light through it & you’ll have a 6 foot source. Or get a real silk on a frame & do the same thing. Not as good perhaps as a bank of Kinos, but….

[Bob Woodhead]

Looked at that myself (MCU as well) but the huge issue w/ the BCF2000 is that faders aren’t touch sensitive, so you can’t overwrite parts of a mix. That makes the BCF useless in my book. As for the MCU, only a fraction of the “mixing desk” actually functions in FCP; most of the knobs, etc don’t do squat. Waste of $$. I HOPE someone comes out with just a touch-based fader surface for FCP mixing, w/o the other stuff you’d use in Logic, etc. – I’d buy it in a heartbeat. MUCH rather be mixing with my fingers than a mouse.

[Bob Woodhead]

Thanks for the info Barry!

[Bob Woodhead]

I’d use still cameras set for interval captures. Set up AC/DC supply in each hut & run a long USB cable to easy reach. Offload to a laptop as needed. Might not need to access cameras once set up – just offload files via cable (unless camera needs to be in “view” mode to offload, or if offloading stops the interval caps). Better than HD res at a fraction of the cost.

[Bob Woodhead]

…. and my Ampex 2″ Quad inflated the tires on the production trailer… ahhh, for the good ol’ days of FLEXIBLE gear!

[Bob Woodhead]

Switch it live to tape with ISO records. Sync TC a must. Save your editing for the show, not the action.

[Bob Woodhead]

Thanks Steve…. should have found that myself I suppose. I just found it hard to believe that a 2x extender is a $4000 difference between the KJ16x7.7B-KRSD HDgc & KJ16x7.7B-IRSD HDgc. But then I looked at the $39,000 models & decided to be happy Canon’s got this new line of “affordable” HD lenses…

[Bob Woodhead]

coollights.biz
Now the guy is working on “democratizing” HMI technology for us as well!

BTW, I don’t own any of his stuff, so I’m not vouching for it – only that I’ve made an even cheaper version of a “Diva-style” unit, and find it gives satisfactory results.

[Bob Woodhead]

Just wanted to clarify that while there’s places to save money (work lights to light greenscreen), you’ll come out ahead if you buy used fresnels to complement an inexpensive flourescent softbox. The easiest, best-looking lighting comes from soft sources. That’s one reason flourescents have taken off (and they use much less power). Fresnel lights are worth the investment over open-face units for their softer light (over open-face) & their flexibility. I’ve a Lowel Omni kit that goes with me along with a bunch of fresnels. Guess how often I open the Lowel kit? Not nearly as often as I’ll reach for a fresnel.
Other thing I wanted to repeat was to always think about ways to bounce light, thus “multiplying” your investment.