[Brian]

thanks, I know, stupid question but we’ve tried everything and are willing to even give voodoo a chance to fix things.

[Brian]

thanks sir for the pointers. one of our editors has postulated that the aluminum foiled backed insulation that covers the ceiling and walls of the studio is the culprit. something about electrons. That sound feasible?

[Brian]

switching the beta cam back on the d50 to a dvcam back is precisely what I am thinking. this way the work flow originates in digital and only goes to analog at the end of the production chain when our commercials are distributed in beta cam. but, i’m just wondering, it sounds nice and efficient but how much of an advantage is it in reality? supposedly there will be fewer artifacts resulting from the initial digitizing of the analog footage. but on the other hand, the beta cam format is allegedly better for greenscreening. so how much real world gain is there going from a betacam to a dvcam format?

[Brian]

thanks evolution and also everyone else. one thing that’s puzzling is that no one seems to think much of going to a dv25 deck and then match that with another dv camera (Not a digibeta or dv50). is it the limitations in chroma keying?

adam wilt rates dv as slightly superior to betacam.

[Brian]

that’s what i was thinking too. if it’s a studio why bother with tape other than to back up.

[Brian]

what’s an a2? omni directional?

[Brian]

hi todd,

as a fellow santa barbaran, i feel less guilty about hitting you up for info. what dvcpro deck are you using? and once upconverted to 4.2.2 where do you export it? media 100? i like your solution because we could get a digital back for out d-50 and then for our second camera get a high end mini dv camera instead of betacam sp.

[Brian]

Perhaps you’re not yet — and I stress the words “not yet” –under the same high-pressure, tight-schedule, microscopic, nit-picking scrutiny as Lucasfilms or a production house whose work is distributed nationally or internationally. If that’s the case, then go for it!

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I wish this were the case unfortunately our production house is attempting to ramp up production and our ads are, gulp, distributed in 80 countries.

About me, i’m basically a writer with advanced hobby level knowledge of the technical side of video. but for now i’m the de facto guru regarding tech issues. i’m in deep water techies, and these water wings i borrowed from my 3 yearold daughter are barely keeping me afloat.

brian

[Brian]

Do you think George Lucas — a longtime advocate of digital cinema AND of cost containment in motion picture production — rush out and get one for green-screen work for his next effects-laden feature?
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not sure i get your point, you’re saying since lucas does NOT use “prosumer” hi def cams that it’s a bad format for greenscreen? or, are you saying that since he shoots in hi dif (pro models) that it is indeed good for green screen?

[Brian]

Hi Todd,

I’ve been recommending a tapeless setup to the creative director. is the firestore considered the best choice? I mean, I figure if we’re in a studio, we should be able to go straight from the camera head to some form of tapeless digital format.

brian