Charles Lorch
Forum Replies Created
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I do not have specific experience with those lenses on the 900, but I have a Fuji A20x8.6BRM on my 900. Even though this is an industrial piece of glass it’s fairly new and I think may be cleaner than some of the older broadcast lenses I’ve worked with in the past. Perhaps the newer glass has been produced with newer technology and exacting standards? Either way I’ve decided to hold out for a piece of HD glass. Unless the added throw is an issue, it’s a great deal, or there is another issue as to why you are looking to change, you might consider holding off.
In all I don’t know that you’ll see a giant difference, but be sure your lens set-up is correct for any glass you consider so that you’re comparing apples to apples. -
When it’s the necessary evil, I use my AB Ultralight2 along with the Chimera on my SDX900 and find that the Chimera makes all the difference. I also have a full accessories kit with a second cage/head for quick bulb wattage changes and a dicroic and various glass diffusions. The one nice thing about having the Chimera is that rather than it threading onto the camera it mounts on a post which can allow it to be removed quickly and either mounted or held of axis for a little sculpting. I was shooting chickens in an egg production facility recently and had my sound man play human tripod for some quick cover shots.
Everything I’ve heard about the LED on cameras is great, just the $$$ part.
I don’t know how any of this is affected by the fact that you’re looking at it for a small DV camera. I’m guessing that power would be an issue which would make the LED’s a great option, but a light that costs 1/3 of the camera cost may be tough to swallow. The AB would require a seperate power source which would run up the cost as well. In fact the Ultralight and Chimera alone becomes expensive on a DV budget.
Good luck. -
Noah, Thanks for the post over on 2-Pop. That being said, I understand crossing posts on various forums within a site, but seperate sites?!
I know you are on both forums but you’re not everyone. -
If the client isn’t pushing the issue of overall price then you shouldn’t either. Give them your hourly rate and keep track.
If you need a ballpark figure then get alot more info from the client as to content, length, use. Another big factor is their involvement. We have plenty of projects that take twice as long to complete because of the clients involvement.
Overall, aim high if you can, and if you end up low and working for $15 an hour you can chalk it up to experience gained. -
I worked with a pop-up unit at my old shop and was very happy with it on head bites and tighter effects shots. Not sure which brand it was. It needed to either be hung from the cieling (could tie it to drop ceilings) or from C-Stands because while the frame stretched the fabric nicely, it couldn’t support itself , even leaned against a wall. I’ve seen some on B&H that have a skirt attached to add some length or I guess to be able to do a full body, but I don’t see that being too usefull. Even though most of the units are 5’x7′, by the time you back it off for proper lighting and to eliminate bounce, you end up with a smaller workable background, not enough for any kind of full body. Not easy to fly with either. Even collapsed it didn’t fit into any of my cases and wasn’t allowed as carry on and had to be checked at the gate.
In all a great tool for the money, but it has it’s limitations of course. -
Thanks for the info.
So there is a functioning waveform built into the monitor?
Please post back when you get the monitor in, and let me know what you think. -
My company is relatively new ( just over a year ), and has a small library but building. We had the benefit of starting from scratch before things the library was on different formats and large. We opted for Alpha Five and built our own databases and interfaces. I built it myself without too much of a headache even on my minimal computer skills. Works great for us, but I don’t know much about Access so I don’t know what advantages it may provide. Just another one to check out.
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I think the only real gain is that you’re not putting money into more beta gear.
I don’t have any experience specifically with this, but I see no reason why you couldn’t go with another D50, but with a DSR1 DVCam back, so long as you don’t capture via firewire/to DV codec etc. Having the same head should match well regardless of the format. We’re currently working on the graphics/finishing for a fishing show that was shot with PD150’s and offlined in FCP with no graphics or transitions and turned over to us. We capture the footage via SDI into our 844X in 10 bit uncompressed, and all graphics and compositing has been very clean. It’s not green screen, but it is an example of where it’s not the format but how it’s handled that makes all the difference.
I think the idea of not putting $ into beta is a good one, but I don’t see any real advantage for you to think about DV since to do either right ( a solid 2/3″ camera and ability to lossless compression/drives ) will cost the same ( DV more if you already have a beta deck ). If because of budget you can’t go to higher end format now like DVCPro50, DigiBeta, or true HD, then perhaps the thing to do is ride out beta until you can. -
Susan, can you clarify if a dub house is making the dupe, and if so your equipment set-up for getting it to DV?
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Check out this article. The deck settings are important in addition to the FCP set-up.
https://www.bobhudson.com/Setup/