Dan Brockett
Forum Replies Created
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Hi Tim:
Have you read the ASC manual in regards to panning rates? What you may think of as slow may still be considered quite fast from a cinematographers standpoint. The rates to obtain a pan with no strobing are amazingly slow.
Just an idea. There are also a lot of different components in your monitoring chain, I know, I too use the Kona 3. There are your sequence settings and Audio Video setup for FCP, the Kona settings and also there may be settings about pull down or pull up built into your monitor.
There have been many, many shows on broadcast that looked amazing that were shot on your cameras so I don’t think it is the camera. I think it is either the rate you are moving the camera or you have something set incorrectly in one of your three monitoring device variables.
And yes, if you are definitely shooting 1080 24pA, you should be ready to go as far as post, no pulldown or reverse telecine needed, I shot two PBS specials on the AG-HPX170 this year using the same settings and it worked like a dream.
Dan
A Producer Who Is Also A DP? Yep, that’s Me.
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Hi Tom:
From my experience, I doubt that you will find exactly what you are looking for. Most BGs are stocked on perhaps 8′ or 9′ and 12′. I don’t think you can find an odd size like 15′. So your choices are to probably work with something that is longer than you want or to cut it down yourself. Not sure if I have ever seen paper seamless rolls much longer than 9 or 10′, they are too tricky to transport unless you have a truck.
For painted muslin BGs, I would check with Calumet and Denny Mfg, both are on-line. You should have no trouble in finding a 20 x 20′ green screen, also made of muslin or nylon. Walking on a cloth green screen is bad though, once you have smudges and footprints all over it that won’t come out, it loses its effectiveness to be keyed easily. For sizes that big, I would prefer a painted hard cyc if you need to see the floor/full length body shots.
Dan
A Producer Who Is Also A DP? Yep, that’s Me.
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I just was given a new 15″ too. The loss of the FW 400 slot, Expresscard 34 slot and the glossy screen relegate this laptop to an e-mail, web browsing machine, it is not equipped to do serious video production anymore. Wish I would have had the choice for a 17″ model, although I too don’t like lugging the bigger 17″ around. It wouldn’t fit into my CineBags CB-25.
FWIW, I bought the AJ-PCD2 and it is surprisingly fast, I have been pretty happy with it so far. It is not as fast as PCI-E, but it is faster than I thought it would be.
Dan
A Producer Who Is Also A DP? Yep, that’s Me.
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You do realize that if you convert the component to S-Video, the resolution of that signal will be SD 480i and not HD? It will seem weird to be sharing a 720/1080 source on the same screen as a 480i source, won’t it?
Seems like you have the wrong tools to accomplish whatever it is that you are trying to accomplish. Why do you need to run both cameras into one monitor? Why not use two monitors? Who is looking at the monitors? Live audience or just you for production? If it is essential that two cameras are plugged into one monitor for some reason, I would investigate a real video switcher. That would give you options for PIP, split screen, etc. that your monitor alone will not give you.
Dan
A Producer Who Is Also A DP? Yep, that’s Me.
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Jasmine at Spec Comm obtained one for me when another order that they had one held for canceled. Spec Comm is your best bet, just get on their list, call Jasmine.
Dan Brockett
A Producer Who Is Also A DP? Yep, that’s Me.
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All I can say is that that is scary and it makes want to NOT use Shotput Pro. I have always transferred my P2 files manually and I always play a clip from the card before deleting a card.
This is why. Sometimes you just cannot leave it to some software, you have to check it yourself.
Dan
A Producer Who Is Also A DP? Yep, that’s Me.
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Yes, I tend to write really long articles but it is what my audience wants. They complain when I write the brief ones.
Dan
A Producer Who Is Also A DP? Yep, that’s Me.
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Detail EXACTLY, step-by-step how you set back focus. You either don’t know how to do it correctly or have a defective camera or lens.
The 300 is extremely sharp when functioning correctly. I do shoots all of the time with the 170 and the 300 and the 300 is much sharper than the 170. I also shoot with the EX1. The EX1 is sharper than any of the Panasonic cameras, but IMHO, not in a good way, in a somewhat “sterile” way, but that is just my opinion.
Dan
A Producer Who Is Also A DP? Yep, that’s Me.
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The lowest cost camera that records HD to tape, other than HDV, costs around $30,000.00. The HVX200A costs around $5k, records 4:2:2 HD video to P2 cards that cost a few hundred dollars, I don’t understand your objection?
You would want to consider the AG-HPX170 over the HVX200A, unless for some reason you are still needing to shoot SD. The 170 has several features that are lacking on the HVX200A. You may find reading this to be helpful in understanding everything you need to know about the AG-HPX170.
https://www.kenstone.net/fcp_homepage/hpx_170_evolution_brockett.htmlDan
A Producer Who Is Also A DP? Yep, that’s Me.
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Obviously the new 12 core machines don’t make much of a difference in running FCP. But what about Compressor, Motion and Color? If you regularly use these programs, the additional CPU power will matter but the GPU power from an upgraded card will matter too.
Do you use AE? Do you have to crunch a lot of footage down from 1080 to smaller web formats? These too should be factored into your decision. If all you do is edit using FCP, I agree with Mark P. If you really push your machine are crunching a lot of H.264, AVCHD or AVC Intra footage through your pipeline, the extra processors could be worth it.
As usual, which machine to buy all depends on you. I don’t think that there is anything wrong with having a reputable VAR setup your machine as long as you check them out, solicit testimonials from satisfied customers and make sure that they don’t get too markup happy or rip you off on hourly.
Once again, goes back to how you are going to use it. If you are editing with FW and only SSM, you may not need a VAR. If you are editing with a Kona card, need to setup reliable RAIDS, I would go with a VAR, money well spent and someone to fix it when it gets sick.
Dan
A Producer Who Is Also A DP? Yep, that’s Me.