[Emre Tufekci s.o.a.]

You should check with Panasonic as far as the trade ins as they will vary from region to region. I would recommend not to miss out on the offer as it makes a huge difference.

https://catalog2.panasonic.com/webapp/wcs/stores/servlet/SpecialOffersForModel?storeId=11201&catalogId=13051&itemId=298737&surfModel=AJ-HPX2700

As far as the data downloading with larger cards its not as a big deal as it was. For example the 2700 has 5 slots. Each fits a card (currently at 64GB). Thats 320GB of storage. If you are doing documentaries and can use 24PN (native) at 4:2:0, 8 bit DVCPROHD that will get you 30 hours of 720P footage before you have to offload anything.

Or get you 320 minutes at 1080P at 10bit 4:2:2 using AVC-I.

There are also new tools you can use to automatically download and save your footage without a need for a laptop or second person.

https://catalog2.panasonic.com/webapp/wcs/stores/servlet/ModelDetail?displayTab=O&storeId=11201&catalogId=13051&itemId=181938&catGroupId=34402&surfModel=AG-HPG10

The entire industry is moving towards tapeless acquisition and this probably is the best time to get in to the workflow as it has already been proven in the field (the panasonic rebate is also very sweet.) We have been using P2 for over 4 years and have had great results. Just make sure you demo the workflow and the cameras before making your final decision.

Hope this helps,
Emre

Emre Tufekci
http://www.productionpit.com

[Emre Tufekci s.o.a.]

yes and yes. 2700 goes uprez to 1080 and has AVC-I available.

Emre Tufekci
http://www.productionpit.com

[Emre Tufekci s.o.a.]

In a nutshell:

2700 has variable frame rates (1-60 fps) with 720P imager. Highest resolution:

1080P 10 bit 4:2:2

3700 has limited variable frame rates (1-30) with 1080 imager. Highest resolution:

1080p 10 bit 4:4:4 with dual link HD-SDI.

2700 is generally for documentary/ENG type use, 3700 targets Episodic TV and feature film industry. Doesn’t mean one cant be used for the other.

Emre Tufekci
http://www.productionpit.com

[Emre Tufekci s.o.a.]

Yeah, not much help there… I havent touched a HDX900 in 4 years.

Just try the advanced pulldown setting, I think that helps a little. Also shooting 1/48 or 180 degree shutter (same thing) will probably ease the motion blurring.

Emre Tufekci
http://www.productionpit.com

[Emre Tufekci s.o.a.]

Here are a few samples of stuff we shot all the 24P native (fast, slow, moving, panning, tilting..etc) and got good results doing a pulldown in post.

First one is a fast action recruiting video.

https://vimeo.com/9270990

This one is a corporate/marketing video. Slow paced.

https://vimeo.com/9605948

This last one is Demo reel for steadicam which is a mix of content.

https://vimeo.com/11788109

Hopefully this will give you an overview of what can be achieved.
Cheers

Emre Tufekci
http://www.productionpit.com

[Emre Tufekci s.o.a.]

I dont think there is really too much we can add to what you already know. We have been doing 24p native for 4-5 years but the advantage we have is in the tapeless workflow we actually shoot 24P (not a pulldown in the camera to 60i).

We run 24N all the way through the pipeline and use advanced pulldown tools (like inside episode or similar) that do a much cleaner job that the Camera will for the pulldown.

I know I am saying go buy P2 cameras but unfortunately I don’t think there is much more we can contribute.

PS: We find 24A is cleaner than 24p straight.

Hope this helps.

Emre Tufekci
http://www.productionpit.com

[Emre Tufekci s.o.a.]

Hi Chris, here is my input on budgeting for you show.

1. Hiring a steadicam owner/operator for a day and getting all those shots in one day using our Panasonic DVCPro50 SDX900.

This is probably your best bet, steadicam is a very specialized piece of equipment that requires years of practice to master. You can find operators in your area at https://www.steadicam-ops.com

If the operator is charging less than $1100 a day they are probably running small rigs not certified to fly your SDX or they are inexperienced.

2. Renting a steadicam rig and using a local videographer with steadicam experience to shoot for a couple of days with our camera.

Larger rigs certified to fly cameras like the SDX are usually not available for rental. Most common rigs at rental houses are the Flyer/Pilot (or similar) that has a low weight capacity. A camera operator with steadicam experience will own their own rig, it’s probably best to hire them as a package.

3. Renting a smaller Panasonic HD camera with camera stabilization built-in and just shooting hand-held for the moving shots using that stabilization.

Camera stabilization is not steadicam and will look nothing like it. The internal mirror systems are built to compensate for small movement in an handheld shot with no pans or tilts. If you pan it will “jerk” the shot.

4. Renting a smaller camera and the smaller Steadicam Flyer or Pilot for a couple days.

You can hire an Op with a smaller rig which will be cheaper $500-$700 but do not attempt to use it yourself. you will find it very difficult if not impossible to get a usable shot out of the rig.

Good Luck with your shoot.

Emre Tufekci
http://www.productionpit.com

[Emre Tufekci s.o.a.]

And read this article:

https://magazine.creativecow.net/article/12-things-i-know-about-business-at-55-that-i-wish-id-known-at-25

One of the most important topics in the article is discounts being permanent. If you choose to do a discount for a first time client make sure the contract lists like this:

Item a: $1000
Item b: $1000
Item c: $1000

Total: $3000

First time client discount: 10%

Total: $2700

That will know your worth and you can demand full rate for returning customers.

Emre Tufekci
http://www.productionpit.com

[Emre Tufekci s.o.a.]

I think the best practice is to determine what you are worth+capable and reverse engineer you price from there.

For example; if you think you are with $50 an hour shooting and same editing, meet the client and learn about the project.

From there based on your “capabilities” you can determine how long it take you to plan, set-up and shoot the event.

Than you can again estimate how long it will take you to edit the segment and multiply that by your decided hourly rate. Add additional caost when needed like voice over, duplication…etc. You have a quote.

Be careful to make sure your client understands the contract you have him sign states out clearly that any alternations to the production schedule may increase the cost. Also that they get a pre-determined hours to make any changes to the show and anything beyond that is calculated on an hourly fee.

Please allow me to politely write the next segment all capital:

MAKE A CONTRACT!!!!

Otherwise you will find out if the client wants more hours, pay you less or not at all you wont have a leg to stand on.

Emre Tufekci
http://www.productionpit.com

[Emre Tufekci s.o.a.]

Hi Todd,

We went with lower end dolly from Matthews called the round-d round dolly.

https://www.msegrip.com/mse.php?show=product&cat=422&products_ID=26698

We liked the pneumatic tires but also got the hot buttons for tracks:

https://www.msegrip.com/mse.php?show=product&cat=422&products_ID=25518

We added the seat and an extension.

It is really a simple dolly with no boom or range so it probably is less than what you are looking for. However we got good results from it in the field or the studio. We sandbag it down for additional weight, our op is 250lbs and its very easy to transport. Wheels come off, the dolly can be carried by two people easily, fit everywhere and doubles as a cart to carry equipment.

With the tracks it is very smooth and is balanced with wedges very quickly over uneven surfaces with the Matthews tracks. We didnt invest too much in a dolly (as we discussed earlier) we do everything with a steadicam. So I am not sure if this would fit what you are looking for.

Emre Tufekci
http://www.productionpit.com