Dorit Grunberger
Forum Replies Created
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Noah
Just for the record, there is no “Enter” button on the DVX100a (or b) remote.
I tried everything I could think of and even when I got the timecodes to be almost the same (fractions of secs off) at the start, once I turned the cameras off and took the batteries off to charge (not the internal batteries) for the night, the next day upon firing the 2 cameras up, they were completely off from each other. I’m concluding that the internal batteries need recharging. Well, at least that’s a possibility.Dorit
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“Where is the issue? If you get both camera to the point of being ready to accept the final confirm command for setting a specific free run starting timecode and then confirming with the remote as I show on the DVD it should work fine.”
The issues are as follows:
1. I set both cameras on free run
2. went to TC first run selected preset (BTW, a more fleshed out description of which presets you mean would be helpful, maybe for the next version :-))
3. went to TC preset and zeroed out everything on both cameras.
4. when asked if the new preset is good I said yes.
5. When you say “activate the new setting with the remote, I hope you you meant hit Menu on the remote. I hit “menu” until I was out of the menu
6. The time codes started up on both cameras BUT, were not identical to each other.
7. Tried it a bunch of times and they’re always off, not always by the same amount.
8. I have one DVX100a and one DVX100b. Is that a problem?
9. This seems way less than perfect, so I must be doing something wrong. -
Sorry I waited till the last minute. I have Noah’s DVD for the DVX100 (which has helped a lot in the past), and I thought it was going to be a piece of cake to get both cameras TC to reset in free run. Unfortunately, that isn’t the case. When I press the counter on either the camera or the remote, I can toggle between the different time stamps, but I don’t seem able to reset the code on both cameras.
What am I missing???
Seems like the original questioner couldn’t figure it out either (eyecandy) and there was no final help.
I need to reset for a shoot tomorrow morning.
Help!!! -
Many thanks!
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Yes, I will do that Dave, but 1/2 of the question really does involve the camera. Do you have any useful information on that part of the question? I’d really appreciate that. For example: aside from the issue of appropriate camera settings to receive info from the computer (which I’d love to be aware of), how would I know if the firewire port is fried or not? Is it the same port for outgoing info? In other words, if I’m able to transfer video/audio from a tape in the camera to the computer, does that mean I should be able to get the info going in the other direction (from computer to camera)?
Thanks for your consideration,
Dorit
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And…I don’t think I was clear enough in the original description of the issue.
1. We don’t hold the footage ransom, we keep it so that the client doesn’t do what they’re trying to do, and that is to use us to get cheap work.
2. The 3 minute project is beyond the original project. The client wants both. We’re just about finished with the 9 minute version and will work on the 3 minute web version this weekend.
3. The contract was for the 1st 9 minute project only, for which we’ve received 75% of the total bill at tihs point.
4. I see no reason not to charge the clients for a 3 minute piece that was not part of the original project – do you?
5. I’m sure you charge quite a bit more than we do (and probably worth it too ;-)). We can’t afford to “hire someone to chop it down.”Thanks again for your input and everyone else so far. This is a loaded subject every time it comes up. Live & Learn!
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Ouch Steve!
For brevity, I didn’t get into too many details. We usually agree on how long the project is and that’s what the client pays for. If they ask for the world (which you know they do) and if we can’t keep it within the agreed upon length, we give them more. Then together, we cut it down again to the final length, or if they like it as is then we don’t charge them beyond what was agreed on.
We do understand that there’s a lot more work goes into a 30sec psa than a 30 minute straight shoot.
We’ll give more thought to a change in rate structure.
Thanks for your suggestions -
Thanks so much for the input Walter
When we 1st started this business, we ignited intense discussion on this forum around the whole “who owns what” issue (I’m sure it wasn’t the very 1st time that happened).
We decided to fall on the side of owning the raw footage. and our rationale was as follows:
1. We have very accommodating rates.
2. Our clients are on very tight budgets and need to know in advance what the cost will be.
3. The client pays for the final product we create. They do not pay for travel, any additional rental of equipment (only if there’s a special lighting request) and most importantly, they do not pay for the tape stock.
The only way we can continue to produce is if we have control over the stock. Of course we can’t and wouldn’t use the footage for anything but the client’s project, but it is ours to keep.
4. I totally understand about going out of business, because we wind up doing so much work that the per hour returns are questionable.
5. On the other hand, we are emotionally engaged in telling the clients’ stories. In this case we’re trying to help a hospice center raise more funds AND reach out to their community.
Final word: we’re thinking twice whether we want to continue to give our services to this client since dealing with them has been very difficult (didn’t get into it here).Thanks again Walter.
Anyone else???? -
Hi Noah
I completely forgot about the head cleaning maintenance schedule…
Is there a “best head cleaning tape” out there or should I just stick to the one Panasonic one I have?
Also, would you have any idea how to pick a local shop (San Francisco) to do a professional cleaning job?
Thanks -
Camera is ~ 4 yrs old and DVX100a