Brad Neal
Forum Replies Created
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Thanks for the clarification, Justin. I meant to say that it’s not a diversity mic. Instead I said it’s not dual-channel.
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When we first started searching for wireless mic’s, I too was all freaked out about wanting dual channel, but one of my sound guys told me about the Sennheiser EW100 stuff, which is single channel. I picked up one kit and worked with it for a while, and then ordered another.
For the money, they are a really nice setup, and so far, I have not missed the second channel. I think I paid about $600US for the set, and it comes with a receiver and shoe-mount adapter, a lav, and a XLR transmitter that plugs into the bottom of a hand-held.
If we would have had the budget, I would have gone with a higher-end dual channel setup, but the cash wasn’t there so went with the single and I am very happy with them.
-Brad
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Hi Steven,
We have 2 500’s and will be adding a 170 as soon as it’s available – as you say, primarily for the size. But if size doesn’t matter, and you are not dealing with budget limitations, I see no compelling reason to go with the 200a. -
Have you tried placing the card back in the camera and doing a repair?
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For future reference, always make sure that the write-protect tab is flipped to “protect” prior to loading the card in anything but the camera. PC’s and Mac’s both will write files to the card when inserted that can damage the video files.
-Brad
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Bill,
First, I would not rely on the LCD screen on the camera for anything more than framing. I would really consider a good on-board monitor, or if you usually shoot in a studio environment, then Adobe OnLocation (formerly DV Rack) does a great job with your laptop.Next, what are you using for a backfocus focus chart? The one in the back of the lens manual is really not a very good solution. Better than nothing, but barely.
If in fact your are experiencing trouble in keeping the backfocus properly adjusted, then you should probably send it in for service.
I have 2 500’s with the stock Fuji lens, and I have never had problems like you describe. I check it occasionally, but it’s usually dead-on.
Best,
Brad -
I have 2 HPX500’s, and now work within a total tapeless environment, so I have no use for a tape mechanism as in the 200. But I do have a need for a smaller P2 camera.
So as Jan points out, the 170 is the perfect solution for me.
Prior to the NAB, I was all set to spring for a 200… I think I’ll hold out until fall :-).
-Brad
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I just had to replace mine as well. I tried the email route, but never got a call back. I found a number from the Panasonic website and ordered from the phone. It was like $45 with shipping.
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Sorry, I missed this thread, but I am the one that had my camera’s 56k problem fixed as the test machines, and I can vouch for the success of the repair.
We had 2 500’s suffering for the green cast, but after the fix, all is well. We just shot a 2-day, 2-camera outdoor event and the 5600k preset is dead-on.
I sent both cameras in on separate occasions, and in both instances, we had the cameras back in a matter of a few days.
I wasn’t sure that I wanted to part with the cameras long enough to get them fixed (as I was able to do a manual white balance to obtain 5600), but in retrospect, I’m glad that I had them done. It is very handy having the preset ready to go with the flip of a switch.
Thanks,
Brad Neal -
Unless I’m doing something wrong (which may very well be the case), my biggest complaint with the histogram is that the subject has to be centered in the cross hairs to work properly.
I finally gave up and just ordered 2 8.4″ onboard HD monitors for our 500’s. An expensive solution, but I’ll sleep better at night.
-Brad