[James Mulryan]

Thank you for the great info. OK, while waiting for Firmtek’s SATA Lets say you go with a mirrored firewire 800 RAID as your external drive and firewire 400 as your live capture source from the HVX200. Is there any bus slow down with this firewire I/O set up?

[James Mulryan]

Kieren:

I will check it out. Not sure, because I was getting this problem going in balanced and unbalanced, and also through DV.
Thank you.

[James Mulryan]

Peter and Shane:
Thanks for the great info.
Shane:
Does the Sony PVM-14L5 accept the HD analog component coming off the HVX200, or SDI analog
not sure about the difference?

[James Mulryan]

I know I am coming in late to this discussion, but is the lens on the new P2 the same one that is on the DVX100?
Lets say for cost reasons I can live with a fixed lens. Lets say I can live with the small chips and and somewhat iffy lens as a trade-off for having a discrete cinema verite style camera with a true HD format.

For a few dollars more:
Why can’t this lens have true witness marks and indicators in the viewfinder that represent actual distance?
What about putting a true apeture ring on the lens? Or at least locating the electronic manuel control near the base of the lens?
These two things would greatly reduce the problems that I have when operating the DVX 100.
I think Panasonic should also make an optional ergonomic shoulder pad that can hold two radio mics, and an Anton Bauer battery. If this was designed from the inception by Panasonic instead of relying on outside vendors to provide these solutions, you would get a true system. Low mass on this camera and no shoulder mount throws out the advantage of body coordination and relies strictly on hand-eye coordination making for difficult pans and reduces overall steadiness.

[James Mulryan]

Mike:

Thanks for the info. Your web site is very informative. Beautiful images.

Jim

[James Mulryan]

Now days, with all the emphasis on nice lighting, all those cameramen are carrying sand bags,
c-stands and lights and those who don’t do interviews get to be human tripods on reality shows.

[James Mulryan]

Michael:

This was a totally run and gun situation, no I would not have had the opportunity to use fill in this situation.
My question was really about grading, I do not know if this is going to a film festival–to film, or to broadcast.
If it is going to broadcast, can you explain how grading would overcome this level of contrast, my main source of evaluation was
with the viewfinder, a grey scale source, and zebras, a combo that I always found very accurate in broadcast situation. I don’t think
you can go both ways with this. Please enlighten.

[James Mulryan]

Walter:

How long did that 22 minute time line take to render and on what machine?
Regards,
Jim Mulryan

[James Mulryan]

Thanks John. I’m ready to throw my Lowell DPs away!!!

[James Mulryan]

Thanks for all the great info. Creative Cow is a fabulous resource, great way to learn how to ramp up production values.
I love the look of a 1200 through a 4X4 w/ two fields of diffusion, but in the past, when I set up such a rig on a small shoot, I would find the sound man holding onto his boom pole like a security blanket and the p.a. sweating like a pig, and the producers gasping when they see all those cutters and c-stands associated with such a rig.
I still wonder if there is a difference between how an HMI verses a tungsten verses a Kino through the same size diffusion and at the
same intensity balanced at the same color temp. reacts on a subject’s face. There has to be a difference.