[Dale West]

Sarah

The camera needs to go to the shop ASAP. As for the lens being the issue that sounds kinda far fetched.
Is there sync on the tape or does it look like it has never been rolled? If you had pix in the VF then
the lens was working. Dont waste time just take it to the shop. Take the tape along just in case.

Dale West Video
North Miami, FL
305-588-2683
dale@dalewestvideo.tv

[Dale West]

Bill
Has this interview taken place yet?
Can you contact me off list?
curious how it went
thanks

Dale West Video
North Miami, FL
305-588-2683
dale@dalewestvideo.tv

[Dale West]

Most transcription houses that I’ve dealt with require mp3s with time code on the left channel
and the sound on the right. Their systems read the TC track and with some magic key stroke they
can insert the time code into the transcript. Again I’m totally ignorant of the post process and its something Im working on getting better at but in the end they just need that.

In the field I use either a Zoom H4 or ederol R9 and put the TC directly into the left track and the output of the mixer into the right track or I use a Peter Engh box that takes TC and Audio into it and it conforms into a stereo
mini and put that into my mp3 device.

And again if its really rush rush we do a live feed, set our time code to the transcription houses time and use a getner box and phone it in. Using that system the producers have literally had the transcript in their email before we finished breaking down.

I think a call to the transcription house might be in order as well. They have probably seen it all

Dale West Video
North Miami, FL
305-892-1201

[Dale West]

Bill
Not up to speed with the 200a but IF it has a time code out then it can be done. If not
then no. Unless you can set your 200a’s time code to something like time of day and then use
a lock it box or some other device to drive time code into the recorder. It won’t be frame accurate but close. Or you can try to have the interviews done realtime by the transcription service again setting your
camera time code to time of day according the service’s clock then having them do it live. The cost
is higher but thats about the best you can do.

Dale West Video
North Miami, FL
305-892-1201

[Dale West]

I agree with Noah for the most part. But in the end is it your call or the clients? What will it be when it grows up? I’m not an editor by a long shot but I shoot a lot of green screen and have had to do it in a lot of different formats to satisfy my clients’ whims. For TNT Sports I shoot NBA in 1080 60i for their broadcasts. For others it has been 720 24p and recently for God only knows what reason a client
requested 480 (betacam sp) If we could only get a format like that again. It seems it will never die. But I digress……. For all of it the way to keep the post room happy is to give them a nice EVEN background without a bunch of green “splash” on the talent. Spend you time doing a good job with the lighting and they will love you. I try to get a minimum 8-10 feet from screen to talent if I can. I’ll take more if I can get it. I use minus green on my backlights. Depending on how it looks I may use 1/2 instead of full to keep from giving them a too magenta backlight. Use your waveform monitor to be sure the light is even. Some guys I know light the subject then the BG others do the BG then the subject. Just use good lighting techniques and more than half the battle is won. Getting back to the light level on the screen. Flip your camera to bars. Note where the green level is on the WFM and try to hit that level on the screen. With my VariCam I have used the Y get to see the change as I pan from side to side. A % or 2 is good.

Dale West Video
North Miami, FL
305-892-1201

[Dale West]

I have 8 Li-Ion batteries made in China. They use a knock off gold mount so they fit cameras using Anton-Bauer mounts. The are rated at 160 and 190 watt hours and weigh a fraction of what Anton-Bauer Nickel Metal batteries weigh at 140 watt hours. Their cost is also a fraction of AB but you have to change chargers. They seem to have a fair to good lifespan although I’ve not done anything scientific about detailing their life. Now, there is a lot of discussion about traveling with the Li-Ion batteries. So much so that if I fly to a gig I still take my AB 140 wh batteries with me. But they are HEAVY.
So, if they are a gold mount they will go on any gold mount. Will they last as long as AB in the long run? Probably not but I feel that the cost/life is good enough to buy them over the AB Li-Ion and the weight savings is no contest. But don’t get me wrong. If AB was at a comparable price point I’d probably go back to them. But they are not close. I can get 2-190 watt hour batteries and a 2 position charger for a little ove 1200 bucks. 1 AB 160wa battery is a little over 800 bucks.

Dale West Video
North Miami, FL
305-892-1201

[Dale West]

Adrian,
A few things come to mind on your question. I am far from an expert but have been around a while and do own a Varicam. I bought an F model a little over 6 years ago and still love it. It still makes beautiful images and has held up very well. Buying a used camera though is always a crap shoot. They do have a life span and getting one that still has life to go is the challenge. If the seller is on the up and up there should be fewer concerns but do your homework on the camera and the seller.

Will you also buy a deck? Without a deck there are other issues for digitizing. While you can use the camera it is not a recommended method.

The 25p is not an issue with the VariCam. Set the system freq and off you go.

If P2 is a possibility then maybe you want to look at the HPX-301. Add a few cards and you are on the way. While it is sooooo not a VariCam it might get you started in the Panasonic line of products.
Like all of the camera lines there are lots of pluses and minuses but do some home work, try some cameras and ask your questions to the huge community of users on the “Cow”

I’m not an editor so any P2 issues with your current edits setup are out of my scope. Again there are a bunch of very well informed folks that can take you through them.

Good Luck in your search

Dale West Video
North Miami, FL
305-892-1201

[Dale West]

Try to avoid going from outside to inside to outside. Your biggest enemy will be big temperature changes and humidity changes. We sometimes think of humidity as being a problem in the Warm Wet South but the humidity of a warm house then going into the cold has the same result. I try to get my client to understand about those changes so the shoot is done all in or all out then we make the move and deal with the issues . I always carry a 250 watt hair dryer that I can use to try the tape transport and the lens as well. There can be times the elements deep within the lens will fog and that can put you out of business for a long time. If you can get the camera outside tonight thats the best. Lock in the trunk of your car or leave it in the garage. Only other issue might be the camera not liking the cold. On a trip to Alaska (it was much colder at about -15) the camera made the most vivid green I’ve ever seen. But everything was green until the camera generated enough heat. I dont think 38 degrees will give you much problem tho.
best

Dale West Video
North Miami, FL
305-892-1201

[Dale West]

Dusty,
I just spent 30 minutes with the user manual and I can’t see anyplace that shows the TC embeded on the SDI connection. On page 44 it shows a multi camera and recorder setup and there it has the TC out from the camera to the Deck. I thought all of that stuff was supposed to be embedded but perhaps not. But just to be sure is there a menu option on the recorder for TC in to come from SDI?

best
dw

Dale West Video
North Miami, FL
305-892-1201

[Dale West]

Just wanted to toss out a couple of things then go back to cleaning the office……
Box houses. I’ve talked about them in the past. I buy some stuff from them but I would have to think twice about buying a camera from B&H or others like them. Saving a few bucks on the purchase price isn’t always saving money. Service after the sale is so important. Over the years I’ve found that companies like Able Cine, ProSource, Trew Audio and many others may be a few bucks more than B&H and Custom Supply but the big gain is customer service after the sale. When I bought my VariCam from ProSource they brought me to the office for a 1 on 1 session on the camera. When I had a problem with the camera and it was at Panasonic for service they made sure I had a loaner for a shoot. The box houses by design can’t do that. They bring it in and ship it out. If it doesn’t work, ship it back and get a replacement or refund. They don’t have service departments and they don’t have, for the most part, any expertise with the equipment. For my money and there is less of it today than in years past but for my money I’ll pay a few dollars more for the service after the sale.

John, I think your mind is made up about the 300 but perhaps you might want to send the camera back to B&H and get a demo from someone in DC. I have been very happy with the look of my 300.
Good luck

Dale West Video
North Miami, FL
305-892-1201