D. scott Dobbie
Forum Replies Created
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You didn’t specify a budget, so I’ll say I’m really happy with my Cartoni Focus.
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No advice yet – just seeking some clarity.
When you say the clip worked, under what conditions were you referring? Did you download it and view it in an NLE program? If so, which one? Or did you just do a playback from the camera while on the set and it seemed fine?
-Scott
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[Jason Jenkins] ” I had a 25′ custom component cable made. Female RCA on one end and male BNC on the other.”
Great idea! Never thought about a custom cable to get a longer length. Thanks!
-Scott
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When you said you were looking for other monitor suggestions after viewing the previous posts, what specifically were you seeking? That may help others give more focused answers.
Not sure what E to E refers to other than (End to End?). In any case, yes, you can monitor the signal. It will show up both in your field monitor AND the camera’s flip-out monitor, so you can use the latter for reference while clients view the HD from a little distance.
The signal can also be output as SD if all you have access to is that type of monitor, though it seems like in your case you’re zeroing in on what you want. Not familiar with TV Logic. I was probably one of the earlier posters you referenced and REALLY enjoy my Panasonic BT-LH1700. There was a $250 rebate at the time – not sure what deals are on it now. I also got the matching Porta Brace field case, which is where I keep it. Carries perfectly and looks/performs great whether in the field or on a stage.
For cabling, I take the short, Panasonic-supplied component cable and just attach RCA-to-BNC adapters, which I then plug into a 16′ video component cable (three cables fused as one), which in turn plugs into the monitor. No loss of signal and lets me even make short dolly moves while the monitor remains stationary.
-Scott
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FCP won’t, but Raylight will keep that info intact. You use it with FCP for the import.
https://www.dvfilm.com/raylight/mac/index.htm
-Scott
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Oh – 12 years. Didn’t know you were transitioning cameras. I wasn’t trying to be condescending – I thought you were new to the field.
-S.
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It also depends on what the market will bear in your area and who your clientele is: shorts, features, corporate, actors demos, whatever. If you’re starting out, you need to price yourself so you’ll get work. If you’re more experienced AND do good work, word will get around and you’ll be able to command more. If you’ve got to turn away business because you’re too jammed, it’s time to raise your rates a little. If you find yourself twiddling your thumbs perhaps your pricing isn’t realistic.
Also, are you producing the project yourself (like corporate) or are you being hired as one of many crew? If you wear more hats you should get paid more.
For what you’ve got, $600 for a 10-hr. day isn’t an unrealistic starting point as a shooter for hire (I’m assuming you’ve also got a separate monitor for the client). Set a target of $1000 to $1200/day as you add more camera gear (matte box, zoom attachment, filters). While you could set a half-day rate, never price yourself as hourly if you really want to be seen as a professional. Also, keep your gear in great condition and invest in some Pelican cases (or similar). Adds to the professionalism.
I see college kids with no experience (and no overhead), willing to shoot all day on their HVX for $200. Several rental houses in L.A. price the camera closer to $450/day complete (though some say $250 for the camera, but then add $30 for each 8GB P2 card, $50 for sticks, extra for VariZoom, etc. so the pricing can exceed that). So, to include the shooter for LESS than the camera rents for doesn’t make sense to me in this market.
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I’m curious as to who the dealer is. If there’s an issue, others need to be made aware. Maybe you were just lucky in your previous dealings.
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Just be sure everything is lit really well. Even if the resulting scene is supposed to be dark, put more light on the talent than the end result calls for and then the editor can adjust it in post. That will help keep the details.
I shot green screen a couple times and had no issues, though I’ve heard others talk of problems with jaggies. Haven’t heard of increased noise. There’s a little noise that’s inherent in the HVX200, but nothing too dramatic.
Are you sure your ND Filter was set to “Off?”
-Scott
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Maybe the dealer was still selling off inventory and felt it better to try and recoup more money than be happy with getting anything at all. Then again, I’ve seen some dealers post astronomical prices counting on those buyers who don’t perform a price comparison.