Chris Dickinson
Forum Replies Created
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I’m a DoP in Singapore, and have had a number of jobs via GMD over the past few years – both broadcast and corporate jobs for clients from such countries as the US, UK, France and South Africa, and I think this speaks a lot about GMD’s depth of experience and breadth of contacts. They clearly know their stuff, and I always feel like they ‘have my back’ which, as a freelance service provider on the other side of the planet to them, is essential to a good business relationship.
Thus I’d certainly recommend their services.
Cheers,
Chris
Chris Dickinson
Lighting Cameraman and Editor
http://www.chrisd.tv -
Interesting conversation, and a problem that I have hit for one or two docos next year for Nat Geo… I have a 2700 and love it. It has a beautiful look and prefer it to the PDW700 in about every way… I have received the specs for Nat Geo and have to say it just looks like double standards – accepting the HDX900 for 1080 production and the old tape Varicam for 720 production but NOT accepting the 2700 is just ludicrous! I appreciate the point made about trying to draw a line between what WAS accepted etc, but there simply isn’t ENOUGH logic behind this to make it fair and acceptable. And as Disco and the BBC accept the 2700 it makes Nat Geo’s decision even harder to stomach…
I will just have to work some wonders to make Nat Geo in this part of the world (Singapore) accept that as budgets over here aren’t as high as the US, they need to be a little more flexible – particularly as the results will be BETTER than their approved HDX900 and 27 Varicam…
Chris…
Chris Dickinson
Lighting Cameraman and Editor
http://www.chrisd.tv -
I’m an XF300 owner and am very impressed with it in general. The picture quality is easily better than EX cameras, and I prefer its design. I bought it as a second camera to my Panasonic HPX2700 and it matches pretty well after a bit of grading.
Only negative comment is that I have had some problems with my CF cards – I was just about to back up data from one card when I momentarily lost connection between MacBook Pro and card reader, and ALL the data was lost! I was not writing to the card, but just reading and still suffered this major problem! I am trying to salvage the data now… I think the problem was partly the fault of a dodgy USB port on my laptop, but still – it worries me that the CF cards can seemingly get corrupted quite easily.
I will be looking into a more stable way to transfer data from now on as this was not the first time I have experience problems with the CF cards (but the first time that I have lost all data in one go!!)Chris
Chris Dickinson
Lighting Cameraman and Editor
http://www.chrisd.tv -
The simple answer is that it depends on the broadcaster. Every one has a different definition of what is acceptable. It tends to be that the more local/smaller ones are more flexible than larger ones like Discovery, CNN etc… So if its a local cable channel then they may be OK, but it is best to check directly with them.
HDV is a really bad codec to work with – the compression sucks and it doesn’t allow much manipulation in Final Cut before you start seeing artifacts… But having said that the XLH1 captures lovely images and does wonders with the codec. I have shot with the camera a fair amount and have a XHG1 myself, and have to say that I am often very pleasantly surprised by the images these cameras produce.
If you shoot with the H1 spend time setting up the camera to get the most out of it – using the film gamma settings etc. When shooting, keep in mind that you won’t be able to do too much tweaking in post, so if there is a specific look you are wanting, try to approximate it in camera so there is less to do in post. I set my zebra at 100% – that way I know when I am about to start losing detail in highlights. You can actually recover detail in Final Cut up to about 105%, but best to pay special attention to highlights, and you can slightly under expose if necessary, by about 1 stop, and then pull it back in Final Cut.
Good luck with it – as I say: speak to the cable channel.
Cheers,
Chris
Chris Dickinson
Lighting Cameraman and Editor
http://www.chrisd.tv -
I have the A1 and even tho it at a software error soon after I bought it (the camera would turn on but I could not see anything on the LCD or VF or record anything – ouch!), my great Canon support ensured it was fixed ASAP in a couple of days – and they had a camera on standby if I needed it.
Since then – problem free. Prefer it by far over the Z1. Great to use, an provides images that keep clients happy :o)
Had one comment recently by one client – I did a corporate for him a few wks ago – shooting in DV mode. I think he has the Sony HVR-V1, and he commented that the Canon image was too sharp (compared to his DVCAM images) – saying how a fleck of dust on an interviewees jacket really stood out, and that it was more like HD footage!!! He said he’d probably have to use a filter in post production to soften it a bit!
There you go – someone having to degrade A1 DV footage to match Sony DVCAM!
I have used the XL-H1 too – took 3 units to China last yr on a film training trip. We were in freezing temperatures, and at altitude, and the cameras didn’t cope too well – the LCDs got really sluggish (even if we kept them overnight in our rooms, with the heating on…)
All 3 cameras had the same problems – I have operated the Z1 in worse conditions and had no problems… So a slight area of concern – will be doing more tests later this yr.
Still – the provided stunning images tho!
Chris D TV
Chris Dickinson
Lighting Cameraman and Editor
http://www.chrisd.tv -
HI,
I have the same problem with FCP 5.1.2 nd QT 7.1.3 – FCP only likes clips that are over 21 seconds long! I was shooting on an HVX 202 (PAL version) and recording on 2 Firestores, in DVCPROHD 1080/50i.
I’m hoping that P2 log will solve the problem – but for some reason my credit card payment keeps getting rejected!!!
Anyone with any fixes for FCP???
C
Chris Dickinson
Lighting Cameraman and Editor
http://www.chrisd.tv -
Hi,
Keen to know if youv’e found a solution bcs I’ve got the same problem! :o(
Chris Dickinson
Lighting Cameraman and Editor
http://www.chrisd.tv -
I had the same problem with 720 25p – FCP doesn’t like 720 25p – currently no codec for it… go figure!?!?! I guess Apple is expecting us PAL countries to convert to NTSC…
Chris Dickinson
Lighting Cameraman and Editor
http://www.chrisd.tv -
I’ve just come across the same problem.
Shot on DVX 102a – digitized in FCP 4.5, PAL DV settings. footage is a nightclub and FCP seems to be having problems with extreme chroma – areas where there is heavy red or blue go pixelated. NB this is a localised effect – pixelation only occurs around the most extreme chroma areas… Can’t find a fix – have played with settings… Can’t figure it out!
Help!?
Chris D
Chris Dickinson
Lighting Cameraman and Editor
http://www.chrisd.tv -
Hi Graeme,
Please let me know what your answer was because I have just hit the same problem and cannot find a solution!
Cheers,
Chris D
Chris Dickinson
Lighting Cameraman and Editor
http://www.chrisd.tv