[David C jones]

The cine settings (cine 1 through cine 4) are preset gamma curves that are part of the picture profile set up. You can find this in the manual starting on page 84. Page 90 actually explains what the differences are between the curves.

Hopefully this helps :o)

[David C jones]

Hi Richard-

Yes, you want the reference tone at -20. Your audio should peak around there as well. But monitor, monitor, MONITOR! Use headphones or at least an earpiece. Just because the levels look good, doesn’t mean you’re not getting distorted audio.

Regards,
Dave J

[David C jones]

Hi Tel Jaba-

For the most film-like settings, I recommend the following:

HQ 1920X1080
25p
Shutter angle at 180 degrees (or 1/48)
gain at -3 or 0
cine 1 or cine 2

Regards,

Dave J

[David C jones]

Greetings Yuangen-

If the audio was recorded on audio cassettes like what music used to be available on, then unfortunately the audio will continue to drift; you will have to resync it (I’m guessing) about every 10 to 20 seconds. As far as I know, there’s no way to keep it continuously in sync.

I’m not very familiar with FCP but, maybe someone else who knows vastly more than I will post here.

Regards
Dave J

[David C jones]

While I disagree about having a P2/tape deck camera, mostly because when tape does finally die, you’re stuck lugging around a useless tape deck on your shoulder (I’m not even sure they could put both in a camera body, anyway), I couldn’t AGREE more about the number of choices of cameras from Panasonic.

What I think happened, is that the name Varicam became so popular, that they had to come out with a camera just with that name on it. Even though, the HPX3000 should have been looked upon as the tapeless replacement of the Varicam. Why there are two versions, though (the 2700 & 3700), I don’t get. And now the HPX300 with, still, 1/3 chips. Panasonic REALLY needs to re-think that.

I don’t know what the answer is; they can’t just start discontinuing cameras (like the 2000 and 3000) without causing even more angst among users. But, you’re not alone in your frustration.

[David C jones]

Hi Eli-

NBC used the AT-BP4025 (or 4029s’) during the Olympics, though they were using larger cameras. I use the Sennheiser MKH 418S, though not on a camera. I have not used the ECM-680S but based on its specs, I’d say it’s a good choice for a camera mounted mic, esp. considering the price.

You need to make sure the mic (whatever you choose) won’t stick out in the frame.

Dave

[David C jones]

Hi Sean-

There are dozens of lapel mics out there. What are you using them for? Broadcast? Sound renforcement? Are you going into a mixer or a camera? Are you looking for wireless or will they be hardwired?

Dave J

[David C jones]

That’s very helpful, and interesting. Someone had posted the BBC high def standards on an earlier thread; and per their requirements, the camera wouldn’t have met the BBC standards for HD because it was only 35Mbps and not 50 or 100Mbps. Maybe the BBC changed their mind after testing the EX1.

They said that “little is to be gained by using the detachable lens on the EX3” regarding lens aberration. But they didn’t say anything about using other lenses or adaptors. Info and/or recommendations about this would have been more helpful.

[David C jones]

Hi Ofer-

You would almost always charge a day rate (or half day rate). Since you are being hired along with your camera, I would charge one rate for both (a package deal). As everyone will tell you, rates can vary depending on a lot of things, but generally, from what you’ve described, you should charge about $500-$600/day for you and your camera, plus mileage if you have to use your own car.

Regards,
Dave

[David C jones]

Hi Michal-

According to Lectrosonics FAQ’s, alkaline batteries will only last a few minutes at -20F. They recommend NiMh or LiPoly batteries by iPower brand. They said the Li Poly’s perform very well at low temps. HOWEVER, BATTERIES CANNOT BE RECHARGED WHEN THEY ARE COLD. So, you would have to have them at room temperature to charge them.

Best wishes
Dave J