John Sharaf
Forum Replies Created
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Jamie,
If you shot at 60 hz then imported to NLE the sound would be out of sync because all audio in NTSC domain is 59.94, while the picture would be longer. Believe me, the one and only reason to use the 60 hz setting is to shoot for PAL broadcast at 25 or 50 frame rates!
JS
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Richard,
Most ENG style lenses, HD included, are available either with or without the “doubler”, but the doubler per se does not deteriorate the image that much or weigh that much. The front mounted wide angle and tele “extenders” do weigh alot and throw the balance off, in addition to deteriorating the image, but there are different animals.
JS
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Jamie,
The Varicam F and H models have the capability of switching the systems frequency from 59.94 to 60 Hz. The main function for this is so that the camera can create a true 25p or 50p speed for use in PAL countries. Another obscure rational is to create an exact 24fps rate as opposed to 23.97 for use in intercutting with film footage that will only be projected, not telecined; and this is rarely if ever done.
The settings you used are correct; 24fps at 59.94 yields a tape exactly like you would receive from telecine of film shot at 24fps and transfered to tape for use in postproduction and exhibition on television. even if the project eventually goes to “film out” and is converted back to 24fps film, the slight correction from 23.97 to 24 is made to the picture and sound at that point.
Hope this helps!
JS
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I think these guys are ok. I spoke with them on the phone. The special part is that Leader was having a promotion; I don’t know if it’s still on, you’ll have to check.
JS
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Leakin’
Here’s link to box shop in NY that has it for about $8500. I bought mine for a little less elsewhere, but this might have been a “special program” that has expired?
https://www.tequipment.net/em_LeaderLV5750.asp
Good luck,
JS
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Sam,
If you’re talking on-board style then the 8.4″ Panasonic is the best package for the money, especially with the rudimentary waveform (mostly good for setting the exposure vs. actual camera setup). There is an Astro for about your 10K figure that has complete WF & Vectorscope function and of course the Leader LV5750 although the picture function on that is somewhat inferior, but it’s well under $10000.
In the larger monitors, I’m quite partial to the eCinema DCM23 ( I have two) because not only is it full 1920×1080 resolution (with scaleing for 720 to full screen), but it has built in LUT to correct overbright LCD
characteristics to match CRT gamma and brightness so that it can be trusted for lighting.Sounds like you bought an HD camera?
JS
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In that case, I recommend Film Look Gamma and crush the master gamma to .50 to prevent a washed out look. In addition try to paint a colorful matrix to match the F900, or turn matrix off in both cameras!
JS
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I don’t mean to be cute, but the “similar” settings are those achieved by a skilled VC, DIT or Camera Engineer derived by side-by-side setup with a DSC chart, waveform, vectorscope and critical master HD monitor.
Even with that, matching two models from two different manufacturers is problematical at best, and would probably not be attempted in a real professional environment. I can only assume that some two people are trying to use gear they own, when in fact one of the two should rent the correct camera body to match the other (and still use their lens).
The producer is the one who will suffer in this proposed scenario with two different format recordings (rent two machines to digitize? or pay for clones??) of mismatched cameras. He is the one who should put his foot down and decide whether he/she wants to shoot DVCPRO100 or HDCAM.
JMHO
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Jon,
The video processing in the Varicam normally puts the audio two frames ahead of the video; this is because it takes more crunching to compress the picture than sound. The “H” model however has an option in the VTR memu that delays the audio so the recording is in dead sync; just be careful if you use this not to mix H’s and F’s on the same shoot or you’ll have a real mess in post.
JS
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Rob,
24p has brought a lot of required new learning to both the production and post-production realms; it takes a while for everyone to come up to speed, this is a perfect example, as you now know that there is no such thing as drop frame in 24p, so the time code does not act as clock code in this format, yet most if not all programs are delivered in DF mode for this very reason.
For us to now learn from your observation that what we’re talking about is 3.5 seconds per hour provides a guideline for which we can make the necessary adjustments in the future, thanks for your inquiry, we’ve all learned something new about 24p HD production. Obviously this applies to both DVCPRO100 and HDCAM formats.