Jeremy Garchow
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Well, we looked and looked and narrowed it down to Fujinon, and then it was all about which one. We knew we wanted an HD lens and we wanted basically the same specs you are looking at for the same reasons. We decided on the fujinon 13×4.5. It’s a nice balance between telephoto and wide angel in one lens. If we ever need any other lenses for any other occasions, we just rent. this lens gave us a lot of choices. It’s super wide if you need it. It’s all subjective and I’d encourage you to look around and see what you think. There’s an SDX900 forum over at cinematography.com. there’s some posts about lens choice in there and it’s all searchable. We shoot almost exclusively 16:9 these days, so getting an HD lens was important to us. Plus in 2-3 years we will probably get a big body HD camera with 2/3″ chips. This lens will help us upgrade a little bit more cheaply (but maybe I’ve mentioned this already). Anyway, that was our thinking.
Jeremy
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Hey Toke. Without turning into a big ole mathematical & technical shootout here, I just use my eyes. When the footage is imported over firewire into dv50 and then effected in AFter Effects, the footage tends to look a little more lossy than if I ‘import’ as you say or ‘digitize’ or ‘capture’ or (whatever term you want to use), than if I would bring in the footage uncompressed from the beginning. Also, I know that bringing it in dv50 over firewire is supposed to be a 1:1 transfer of all the digital information, but somehow when bringing it in over SDI the details are are little more smooth. There are less jaggies and the video looks a little smoother. I’m not talking a huge significant amount, but enough to see in my very discerning eyes. Add to that rendering out multiple iterations out of After Effects, I need to keep the video looking a s good as possible. i don’t know where the ‘errors’ occur, I just deal with them and know that i have kept the highest and best quality that I possibly could along the way. If I were doing a complete cuts only piece, dv50 would be fine, but I never do a cuts only piece.
Color space and color space conversion from fcp to AE and back is a totally separate issue.
No, I have not seen the Ultrium 3, but I’ll keep it in mind when and if we go tapeless. Don’t forget, we aren’t buying DVCPRO HD tape, we are buying regular old DVCPRO tape (AJ-P66MP) The medium size Panasonic DVCPRO tape with a yellow lid. We get approx. 33 minutes per tape shooting dv50.
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Cool. Thanks Ramona, I am looking to get a Quad and I can’t find anyone who has it in stock.
I’ll keep searching.
Jeremy
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I’d recommend a Huge Systems array running RAID3. How are you capturing this film? What resolution? This will also help determine what you need. If you are capturing to Uncompressed HD then a FW800 drive just won’t cut it. Stay away from LaCie. We had a couple of the big disk extreme’s fail on us. Not pretty.
Jeremy
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Cool. THis method allow for FCP to do the scaling. That’s why I was asking which monitor minoun is working with. On some of these corporate gigs they have massive switchers that are shown on a 16:9 screen through huge projectors. the scaling that is achieved with some of these switchers is unbelievable. That’s why i suggested to letterbox the 4:3 to get a 16:9. The switcher will scale much much better than FCP will. If in fact he is showing it on some sort of plasma or lcd, your method will work much better David.
Jeremy
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I know it seems counterintuitive, but sometimes putting the slightest blur on moving text will make it pop on tv.
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Was this an HD or SD project? If it was SD, there’s not an lcd monitor that will look good. At least not yet. Common sense make this believable. SD is 720×486, HD is up to 1920×1080. Say you have a ‘lowly’ 1024X768 monitor, it’s twice the resolution of SD tv.
If it was HD, how were you watching it? That digital cinema desktop thing? An HDSDI to DVI convertor? Give me some more info and maybe we can make some sense of it.
Jeremy
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First off, what kind of monitors?
Second, my advice for the 4:3 programs would be to letterbox the 4:3 content in FCP or AE and let the monitor on the other end do the scaling.
For the HDV project, you should downconvert “squeezed” or anamorphic and again let the monitor do the stretching. That monitor will yield the best results, but this is all dependent on what monitor is on the other end.
Jeremy
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What refresh rate do you want?
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Okay. Three follow up questions.
Concerning avdanced pulldown:
Have you tested the advanced pulldown method? I know it’ll work when bringing it in over firewire in the dv50, but what about SDI into uncompressed?
Concerning normal pulldown:
If I log on :29 or :00, will that A Frame be consistent across the whole tape(s), or just that shot?
Someday when I get a couple days, I’ll test this all myself. I’m just curious to what you’ve learned.
Jeremy