Dan Brockett
Forum Replies Created
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Hi Shane:
Thanks for your ideas. We had small (8GB and 16GB only) P2 cards for this shoot so I had to download the cards to two drives, re-format them and re-use them as we shot.
I suppose that I could have done an ineffective transfer, although I always just pop the protective tab, insert into the P2 card reader and drag the Content Folder and LASTCLIP.TXT over to the drive. Once it is copied, rinse and repeat.
For some reason, the LASTCLIP.TXT cannot be opened, transfered to the P2 card, when I try to copy it back to the P2 card, I get an error message saying that the file is in use by the Mac. So the camera wouldn’t read the P2 card with only the Content folder.
I have figured out that using Raylight, I can convert the .MXF files in the Content folder to QuickTimes so I think we will be okay.
Thanks for the advice Shane.
A Producer Who Is Also A DP? Yep, that’s Me.
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Hi Edgar:
Wow, talk about a necro post, I have been shooting DSLRs mostly since this thread but I can try to give you an answer. I still have my P2 camera but really have not used it much in the two years since this thread as most of my deliveries have been for 640 x 360 web delivery, something the DSLRs have no problem with.
I would shoot 1080 24p or pA, depending on what hardware on your end you are using to edit and record your master out to HDCAM. 24p and pA, they are identical, except for how the pulldown fields are arranged in the 60i stream. But the 24pA pulldown scheme is easier to remove to give you the native 24p frames. You can process 24pA in FCP Studio using Cinema Tools, Premiere Pro handles it no problem. Not sure about AVID or Vegas.
Here is another thread you should read https://forums.creativecow.net/thread/193/869774
Personally, I think for your needs, I would avoid 24pA, there are more chances to screw it up in post and I think that the 24p will work fine. 24pA was originally intended for film outs mainly but not too many filmmakers are shooting DVCProHD and going to film these days, whereas at one time, that was a more common workflow.
Look at this way, you are shooting progressive onto an interlaced format and delivering an interlaced format. Makes sense to me to just keep the 1080 24p/1080 60i as is and edit, then transfer. I suppose you could always select a clip and do a test for QC but that would cost bucks.
The delivery spec you are doing is very common and your 1080 24p will still look like 24p, even though it is in a 1080 60i stream. Think about it, that 1080i is going to record perfectly to the HDCAM stream because they are both 1080 59.94 i, right? Are you outputting to the deck (renting the deck) or are you taking it to a post house/dub facility?
A Producer Who Is Also A DP? Yep, that’s Me.
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I know the chairs you are talking about, yes they work really well also. They are stackable, heavy duty and just work.
Dan
A Producer Who Is Also A DP? Yep, that’s Me.
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Rick:
Why would you want an interview chair that swivels? Why would you want a metal based chair that if it doesn’t have squeaks out of the box, it will develop them quickly? Deadly bad for interviews, even if it locks, it will still have some play.
After shooting and serving as interviewer, director and cinematographer for thousands of interviews, I have found that a simple Target or Ikea pine chair with either low arms or no arms works just great. You buy it with a detachable cushion. The back has support, the height is always pretty close to ideal. The wooden construction with a straight back tends to make the interviewee sit up straight, which is always what you want as a DP.
At the production company I used to work at, we had about a dozen of these old Ikea chairs that were metal with a leather seat and a U-shaped wooden back that wrapped around as arm rests. Best interview chairs ever made and more sturdy than the wooden chairs. If you watch the old syndicated comedy, “Just Shoot Me”, they are the chairs that Jack Gallo, the character portrayed by George Segal had in his office across from his desk. Wish Ikea still carried them, great interview chairs.
It all comes down to personal preference but the seats you specify would be my nightmare for interviews. Cheap, light, straight-backed and semi comfortable are better for the camera. You don’t want talent to slouch, ever, looks terrible on camera. You wouldn’t want swivel, metal, height adjustable. You want simple, quiet and reliable.
Dan Brockett
A Producer Who Is Also A DP? Yep, that’s Me.
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I did a shoot in Denmark with my HPX170 and a shoot in France with my 5D MKII. In both cases, 1/50th of a second shutter removed all ballasted lamp flicker issues, the video looked great.
Dan
A Producer Who Is Also A DP? Yep, that’s Me.
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I too have been shooting 90% in 720 for the past few years with my HPX-170. Last year, I did what Jason has been doing, shot a whole raft of projects in 1080p when I knew I was editing on a 720p timeline. For single camera talking heads, the 1080 gives you a lot of options, I liked it and the client did as well. When I have enough P2 cards, I like shooting 1080 24p/A just for this reason although if I don’t have to re-frame or fake a two camera shoot, 720 looks great.
Dan
A Producer Who Is Also A DP? Yep, that’s Me.
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The Beeb has also approved the Canon XF300 series too and this new camera will have a superior codec so I would not be surprised if the BBC and some others (Discovery Networks) allow footage from the HPX250, at least at the Bronze or hopefully even the Silver level.
Camera looks great Jan, you have been busy! Thanks.
Dan
A Producer Who Is Also A DP? Yep, that’s Me.
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It is the same chip set as the HPX-370 I believe but in a small form factor. CMOS is the only way possible to get full raster on a 1/3″ imager. Nice camera. That was the one thing holding me back to from the 300/370. Great cameras but they require a whole other level of support, bigger, more expensive battery and charger and when I travel, who wants to lug a shoulder mount camera on a plane. I have done it, it is a PITA.
Dan
A Producer Who Is Also A DP? Yep, that’s Me.
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Yeah, I am liking the resin panels a lot more than gels these days.
Do their fluorescents also have a green spike too or do you just mean that it would be nice to have ND or CTB/CTO as resin panels on their fluoros?
Dan
A Producer Who Is Also A DP? Yep, that’s Me.
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Only recording interviews with a boom mic is common but it also boxes you into a corner. What if there is too much ambient noise that begins to show up mid-interview? What if the person’s voice just doesn’t sound good on the particular boom mic you are using? I highly recommend the approach you are taking, always record with two mics if you can. It gives you that most wonderful option in editing, choice.
Many people will sound better on a lav than a boom and vice-versa. Many times a boom mic will pickup ambient sound from the elevator that is 150 feet away, or that conversation coming through the walls three offices down. Lavs can really save your rear when shooting on location.
When shooting on a sound stage, using a boom only makes a lot more sense to me because there will probably not be any ambient issues. Using a boom only on location because you are too lazy to take the :15 it takes to clip on a lav is nuts, you are in the wrong business. Same with using wireless lavs for sit down interviews, it is the epitome of laziness. Use a wired lav and always use two mics when you can. It’s called best practices and it is what the most talented videographers and sound mixers do. You can’t do sound in a half-assed manner or it will bite you.
Cheers,
Dan
A Producer Who Is Also A DP? Yep, that’s Me.