John Sharaf
Forum Replies Created
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Paulos,
To me the decision is quite simple; I’d choose the HDX900! To be realistic only that and the 1/2″ XDCAM are real and available for purchase, the other two options are vaporware.
For your closed-loop production environment, the tape based nature of the Panasonic camera does not seem to be that must of a liability, the main advantage of non-linear media comes in fast breaking news environments. Where quality becomes the deciding factor the DVCPRO100 recording format and 2/3″ imager size of the HDX900 give it a great advantage.
You’re right that the complete purchase will cost more because of the need for a VTR, but I think you’ll find that Panasonic will be announcing an economical player only deck at NAB, if you can wait for that part of the package, otherwise the 1400VTR at about $20K is a very capable machine (that includes assemble and inset editing).
The HDX900 compares favorably with the Varicam and even the F900/3 Cine Alta (not it’s equal but still a good value when comparing price). I personally still feel that a Varicam (at its reduced price or even used) presents another good choice, as the variable frame rate and dynamic level controls are both great features lacking in it’s little brother.
If non-linear is the deal breaker, then you might consider waiting for the “2000” camera which is a P2 version of the HDX. It will also offer the improved AVC codec which either doubles the capacity of the P2 card or for the same bandwidth doubles the quality to nearly D5 specs. The savings in the need for a VTR will allow the purxhase of as many P2 cards as you require. It looks like the 16GB cards will be available soon at the price of the current 8Gb’s.
I realize it’s hard to figure out what to do, even if you are somewhat knowledgable of the available offerings and technology, and explaining all this to the non-technical people who often get involved in approving the money makes it even more complicated. Furthermore, in order to determine what the real costs are going to be, you should make a complete “wish” list to include all the accessories (don’t forget proper monitors)that will makeup the complete end-to-end solution. Dividing this later into phases to accomodate the budget might also be indicated.
When it’s all said and done however, the increased capability and quality which will result from the aquisition of a new HD camera package is very significant and the results will be appreciated by everyone involved.
JS
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Bona,
While you might never have lit and shot an interview before, you have probably watched tens of thousands on tv and in the movies. What was it about any particular interview that you noticed about the lighting? Was there any relationship between the subject and the backround that you found pleasing? What about the portraiture on the face; was there anything about the quality of the light you can remember or describe?
Think about these things when you have the opportunity to express yourself by photographing an interview. The techniques can all be learned but the inspiration must come from inside of you.
Obviously you’ll need some equipment, although much can be done with the proper stageing and use of natural light. Alternately an artificial light can be used to key, or fill or backlight to suppliment the natural light or you might begin in total darkness, where your lighting creates the entire picture.
This is just the beginning….
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Red,
That’s right; when your systems frequency is 59.94hz the frame rate is the “fractional speed” i.e. 30fps is technically 29.97. When sys freq id at 60 hz the frame rate is a whole number. This allows a universal camera so you can use it in NTSC (59.94) land and PAL land (25p,50i).
Sony has basicly the same thing in the F900’s namely the choice of 23.97PsF, 24PsF, 25PsF, 29.97PsF, 30PsF, 50i, 59.97i. I believe the new model “R” even leaves out the whole number 30 because you would never use it!
Hope this helps!
JS
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Greg,
The HDX900 makes the same HD picture and recording format as the Varicam, however using a standard definition lens on either reduces the quality considerably especially as regards chromatic aberation (color fringing).
In addition you will need a Panasonic 1200, 1400 or 1700 deck to playback tapes from the HDX900 as it makes a 9 micron head gap recording which can only be played in these machines. These same machines will upconvert a tape made on the SDX900 to HD into the HD-SDI spigot on playback.
JS
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Jennifer,
My guess is that you used 500% dynamic range in film rec; this will result in the look you describe. You can either process the playout through a hardware film gamma corrector or use that feature in the 1400 vtr. Otherwise I recommend a less agressive setting of 200-300% and crushing the gammas to .55 or .60 to get a more wysiwyg look. There is still the chance that agressive color correction on a Da Vinci or Flame will restore the look you’re going for.
It’s quite likely that the Apple commercial you’re imitating was shot on a green screen and the white background composited in in post!
JS
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Paulos,
There are really two issues as regards importing and exporting camera gear for productions. The gear starts in your home country, so you’ll need to document that for when you return; otherwise you’ll be subject to import duty which was already paid. In the states that’s done by bringing a complete list (commercial invoice) stating the items, serial numbers, country of origin and values and attaching a customs form and upon inspection by the agent stamping the documents to make it official.
The second issue comes upon entry to each country you visit; that country wants to be assured that either you’ll export all the gear upon completion of your production or you’ll pay the import duty as if you were importing it permanently or for sale there. In lieu of a CARNET which essentially guarantees the former, you can post a bond, but this should be arranged in advance too; both options are expensive.
If you’re only bring in a small amount or equipment, or small prosumer cameras, none of this may apply, but of course you cannot be sure without checking in advance with the consulate and/or hiring a custom’s broker who’s familiar with the situation.
I did get a CARNET for a recent trip to London, because I had been warned that the UK was very particular about this sort of thing and I found that the cost was outrageous; almost $2500 for the CARNET and the requisite insurance (for a three day trip for two Varicams and a few lights). I had a major shouting match with the CARNET people because they also wanted a $7000 deposit that they would keep for one year because my credit was not satisfactory (although I have great credit, a D&B rating and have been in business for more than thirty years!) For some jobs/clients this amount of extra money could be a deal breaker!
Suffice it to say that I have traveled to many countries (China, Jamaica, Norway, New Zealand, Japan, Mexico and Canada) without a CARNET, although I’ve been careful each time to make a detailed “commercial invoice” as described above which was properly stamped by US Customs, which looked official enough to get by, especially in the third world. I did have to leave my press pass with Mexican customs as collateral that I would export everything I brought in, and I did get it back!
I’m sure others have some hair-raising stories along this line, but really the CARNET game is like everything else in this business; it’s about the money, and how much you have to spend to make your life easier and more predictable.
JS
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Greg,
When you say “dead” i think you mean “lit”. If they’re white they’re lit pixels and can be corrected by repeated ABB or my a special procedure where you “turn them off”, effectively making them black and unnoticable (except in certain cases like green screen).
To perform the pixel correction you need a very high resoltion monitor, so it’s often best to let factory service do it. They have a minimum charge of $270 (I think?) plus transport back and forth.
You could try it yourself, but if you turn off the wrong pixels you can’t turn them back on!
JS
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I buy all my video tape by internet at:
tapestockonline.com
They have every brand, the best prices and ship same day as ordered!
If I’m allowed to say!
JS
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Randy,
Be careful; the HDX takes the medium sized tapes as opposed to the large size for the Varicam. The tape you cited is correct, and FYI the yellow label 126 minute is the best choice pricewise for the Varicam and incidently is the same tape inside as the red or blue!
JS
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If the lens is improperly shaded the wf can not determine if the lighting is even across the white chart; for this you should use a light meter or the y-get feature in the camera. Once you are certain the white field is correct you can then use the wf to monitor the shadeing adjustment. Kind of like Catch 22!
JS