Christopher Wright
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There are so many specifics to ask you I don’t even know where to start, but I’ll try.
For starters you need to make sure that the HVX and the Firestore always have the same settings. You can’t mix shooting formats on a Firestore. You will indeed get corrupted files that way. If you are shooting in different formats you have to format the FS, and make sure you change the camera and FS settings, and only shoot in that format that day. Secondly, whoever is shooting (either you or your DP) needs to securely attach the firewire cable to the camera, ALWAYS. Also when you are recording, if you look in the HVX viewfinder, you will see the 1394 display and see a red dot when recording if all is well with your HVX/FS-100 connection. If you don’t see that, you need to check the connection and start recording over again. That being said, whenever I have had that happen (lost the FW connection), I have never not been able to “chop out” the good portion of the Quicktime file in the Quicktime player later. If that is happening, you have other problems. Also it is the RECORD time that is 6 hours in 720Pn, NOT THE BATTERY life! If you got the standard FS battery, it is only good for a little over an hour of shooting. To get an all day battery you need a third party vendor, JAM products.
It is also not a good idea to check FS clips by playing them through your computer FW connection via the Firestore. You should always transfer them to your HD of choice before playing them. Then if you have a problem with some of the clips, you try to repair them in the Firestore. FWIW, you should ALWAYS transfer your clips to an external HD EVERY NIGHT, reformat the FS-100 before the next days shoot, charge all your batteries, and check your clips for any problems. A lot of what you are experiencing could just be bad FW connections, but you of course always have to be sure your external drives are also in good shape, that they have a good FW connection when transferring data (this goes for a P2 workflow as well) and can handle “rough road treatment” well. If I were shooting so far “out in the field,” I would also have DC converters in my vehicle(s)to charge the batteries at all times while out in the field, and would never let a battery go a full day without a charge and expect it to perform well in the field?? I would also have LOTS of extra batteries for both the Camera and the FS. Also unless you got a very old Firestore with the oldest (first version) firmware, there is no dropout between clips on the FCP TL, unless you also have the wrong easy setup selected in FCP. I also always use the Quicktime setting and not the P2 setting in the FS, as you can drag those into FCP immediately versus having the extra “log and transfer” step in FCP. You also haven’t stated if you are using a new laptop, what version of FCP, Leopard or Tiger, what version of QT etc. etc., and those all can be a factor in the “colorful noise” you are getting.
You set the TC you want on the FS, it will not readout on the HVX. After reading your post it seems this may be the first time you have shot with this HVX/FS set-up and maybe the first heavy duty outdoor project you have ever shot. I haven’t shot in South America, but I have shot in some pretty desolate places in the SW, and you definitely need to keep your equipment dust free and insure tight connections every time you push the record button. Also outside the U.S., you really have to be careful of the electrical sources you are using when hooking up your hard drives and computers, as well as the actual voltage used when charging your batteries. It is so much more than just turning on your camera, plugging in the FS and pushing the record button! We have had crews that had corruption in P2 media clips that shot out in our “White Sands” desert, due to the DP not being meticulous about wiping the P2 contacts after every trip to the P2 store and back to the camera again. As I have stated, if you are doing a lot of “run and gun” shooting, the FS is probably not for you. As far as field documentary production, the FS does indeed have the advantage of very long record times. Due to the nature of the format, you can definitely lose your most interesting shot while you are swapping out P2 cards, reformatting them, or having to transfer media before you can use them again!Dual 2.5 G5, IO, Kona LH, IO, Medea Raid, UL4D, NVidia 6800, 4Gig RAM
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Thanks for acknowledging that Rennie! I have also used the Firestore on several feature shoots as well, and if you are used to having to rig up a 16mm or 35mm camera with video taps, filter boxes, etc., the Firestore really just becomes another “battery” to attach to the camera mechanism! I invested in the “BeBox” which attaches to the tripod as a mounting plate and holds the Firestore quite securely, as well as a gadget that ensures a tight fit for both the firewire cable and audio headphone output. Both of those contraptions make the addition of the FS pretty painless and transparent. The only situation where I find the Firestore less than perfect is in handheld “run and gun” situations, where it can indeed get in the way of quick access. And as I have stated many times previously, when the P2 cards get to 64 and 128 GB (and beyond??), and the price is more comparable per GB to the FS, I’m sure I can be persuaded to buy a few ;>)
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Actually if you read many of the posts here on P2 cards, and do a search here on the COW, you will find many, many people having problems with the P2 “solution” as well. I was one of the early adopters of the FS-100 and as such have used the product ever since I bought one of the first HVX-200s available in the country. Usually FS-100 problems are caused by user error, lack of familiarity with tapeless footage acquisition, and just plain not reading either the Firestore or HVX-200 manuals, (much less doing a “test” shoot before your “real” one!), just as most P2 problems are. As the P2 cards can now handle longer shooting times, they are finally becoming more attractive and viable for those of us who shoot performance (operas, concerts, lectures, etc.) where you don’t want or need the extra hassle of swapping out P2 cards to shoot 3 continuous hours of HD video. The P2 price has also always been exorbitant for the amount of storage you get. That is why more and more cameras are adopting the ubiquitous memory stick versus high priced, proprietary P2 cards. Data is data. And Noah is right, both “solutions” work fine if you know what you are doing, and what to look out for and avoid. And the Firestore solution, as of now, is much more cost effective.
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It always amazes me that Noah always recommends P2 Cards!
The best deal is the new Firestore that has 250 GB storage.
I have never needed or desired the cost and the extra FCP ingest step required by P2 cards. I own two HVX-200s and two Firestores and have never had any problems whatsoever with the recording or editing of Firestore media. When Panasonic finally reduces P2 card storage to that the price of Firestore per GB, then buy them. Otherwise keep to your budget and common sense!Dual 2.5 G5, IO, Kona LH, IO, Medea Raid, UL4D, NVidia 6800, 4Gig RAM
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My condolences also go out to you Ron. It has been a strange month here as well. One of my best clients lost the 19 year old child of her daughter in a rafting accident, another good friend lost a 7 year old niece to a drowning accident, and another choreographer I know locally had her healthy 21 year old daughter die in her sleep last week! Although very tragic, how awesome that the last words with your son were so special and meaningful.
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Well put Jeremy,
THE STATE of OUR art, (As in current phase we must deal with)!Dual 2.5 G5, IO, Kona LH, IO, Medea Raid, UL4D, NVidia 6800, 4Gig RAM
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Firestore rules!
Much longer recording times, much less expensive per GB, and not even a dropped frame in over 4 years.
I have two Hvx cameras and have never wanted or needed to use a P2 card.Dual 2.5 G5, IO, Kona LH, IO, Medea Raid, UL4D, NVidia 6800, 4Gig RAM
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Even though they’d like to think that they do, SAG has no authority over producers. Only actors.
That is my point exactly. The producer can show the film anywhere he/she wants. The problem is that the SAG members can lose their membership and/or get fined if they don’t get SAG approval for the project they are acting in. For some non-active SAG members like yourself, this may pose no problem. And yes to get a SAG okay for a student, indie or low budget feature, you have to send in the script; it’s right in the contract.
I also prefer not dealing with SAG actors in these low budget productions for exactly the reasons you mention. It is a major pain going through the process with them. But then again if you actually want the film to be seen by anyone besides your family, the cast and the crew, it is often wise to at least have one well-known entity to draw some outside interest in your film. I have also found out the hard way, that most of the SAG talent I have used really do know how to act, can hit their marks, and can take direction much more readily than newbies on a set.
And yes the New Mexico SAG representative (out of the main Denver office)actually has been quite helpful for indie, low budget, and student film projects here in NM, even giving free seminars for producers and actors on how to streamline the application process.
NM is really active in attracting all levels of film productions here, and the process really seems to be paying off.Dual 2.5 G5, IO, Kona LH, IO, Medea Raid, UL4D, NVidia 6800, 4Gig RAM
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Both of these methods only work well if the “unwanted noise” is in a frequency that doesn’t compete with the frequency of your voice talent. If you are lucky, you can eliminate much of the noise without getting the “pinched, tinny echo chamber” effect on your voice print!
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I don’t know how heavily involved you are on this project, but you need to address your concerns (and expectations!) going in. If any SAG actors are going to be used, there are various SAG contracts for indie and low budget features that you can use, but you need to start the paperwork and approval process at least a month before you start shooting. (We still can’t screen a very good short film I shot and edited, because the “producer” didn’t get the SAG clearances ahead of time). Usually SAG is very helpful if you give them enough time to look at your project. You will have to submit a script to them before they will approve their members working on anything. You of course need release forms from everyone else, and even need to think about how people want to be listed in the credits. This step can also open up what people think their contribution really is to your project. I actually contributed around 60K to one project in HD equipment, crew support, posting hours, acted as director, d.p., location wrangler, set designer, etc., and an acting coach, who contributed nothing but pain, angst, bad “instruction” for the actors and complete obstruction on the set, wanted to be listed as producer and director! You have to watch those old theater majors. Anyway, make sure you understand what you are getting into before you leap. It is a LOT of free work, equipment mangling and time to throw away otherwise. When and if you decide to commit yourself, then jump in and create magic!!
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