[John Sharaf]

The simple answer is: forget about “24”. You always want to set the camera to 23.97 (and refer to it as 24 as everyone else does). This is to accomodate the need to convert it and display it and sound edit in the conventional 29.97 world of NTSC. Until such time as NTSC is eliminated from our world there will be no need to use the actual “hard” 24 fps setting. Sony put it in the camera in case the camera lasts that long (which I assure you it will not).

As regards the Miranda, yes, as long as you shoot 23.97 it will convert it for display (with sound in sync) as downconvert on a conventional NTSC monitor. That downconversion itself however may be “delayed” a frame or two to accomodate the computation required, but it should have no practical effect as you probably will not be using the image to operate the camera (unless of course you use the downconvert for a steadycam viewfinder).

The DAT recorder should be set at 29.97, because again, that will be the speed at which your downconverts for editing will be.

Shooting at 24 (now you know I mean 23.97) precludes the use of drop frame code; at this speed the TC defaults to non-drop-frame.

During production I hope that you will be monitoring with a proper HD monitor, either a professional HD CRT or a corrected LCD like the eCinema DCM23 display, otherwise you will be operating blind in turms of color, focus and exposure.

The F900 is an excellent choice for this purpose (shooting feature films for film out) but it’s highly advisable to employ the services of a qualified DIT to manage the camera settings and extra monitoring that is required, in addition to the camera assistant’s duties, especially if, as you mention, you are mostly a “film guy”. This 24 fps issue is just one of many that require the proper advisement in real time.

Good luck,

JS

JS

[John Sharaf]

If it’s true that there is no info in the manual regarding the Gamma tables, you’ll have to figure it out yourself! I’d recommend the use if a DSC Chroma de Monde chart and a waveform vectorscope. Light the chart evenly and obseve the effects of switching between the four settings. The 709 setting should be on the Matrix page of the menu.

JS

[John Sharaf]

Jarred,

Are you asking about the /3 or the “R” version?

I’m more familiar with the /3. There are five “Gamma Tables”; number 5 is the most “film like” and 3 and 4 are more universal. Black stretch in Sony-speak is known as Black Gamma.

In the “R” version there are four additional Gamma presets known as “Hyper Gamma”, these seize control of the knee function (much like the Varicam’s Dynamic Level control) and compress the highlights in a predictable fashion. This is also a characteristic of film, namely extended dynamic range. Be careful of the “Auto Knee” function as it has been known to visably “seek” like other auto functions like iris does.

Also you should consider the color pallet; the 709 setting is considered by some to be too garish for filmout.

Finally you should also minimize the detail to eliminate an enhanced sharpness that is particular to video. Most folks I know run the detail at -60 or 70 if not turn it off completely.

These are just some guidelines, I recommend hiring or consulting with a qualified DIT before your shoot.

Good luck,

JS

[John Sharaf]

It’s a real bad sign when the client makes such arbitrary decisions based on fad or what they’ve heard at the camera store! To me it;s awarning that they won’t listen to anything I say in the future, and I’d beg off right away. If you still want to pursue it, suggest a shoot-out test, where you look at the results filmed out and on a DVD; this is the only way to demonstrate the differences and will be a good opportunity to work together before commiting to a lengthy project.

JS

[John Sharaf]

Contact Jim Hurwitz at Telecast. His email is jhurwitz@telecast-fiber.com
He’s probably on his way to IBC at this moment, so give him a few days to reply. The Telecast “Copperhead” product is available right now, you’d just need to interface the Panasonic remote to it with the proper cables at the base station and camera head. In addition you’ll have HD-SDI, genlock, TC, audio (in both directions), video return, etc. You can even add the Power Plus option and power the camera through a SMPTE Hybrid cable. I have three of these units which I use with my Varicams and Cine Alta(s) and I swear by them. They make camcorders and other non-triax capable cameras into real camera systems.

JS

[John Sharaf]

This is a problem that dogs everyone! It comes down to the actual eyeglasses in question; some, noatble those I call “goggles” that are large and convex are almost impossible to keep the reflections out off, others are easier.

The methods to use are to move the light to the side (sometimes necessitating the addition of a fill light), move the light closer or alternately raising the camera (or all of the above).

Let’s see what others suggest, I’m always looking for new tricks!

JS

[John Sharaf]

Jason,

I advise buying two (or more units) of the same type either conventional or Divas, as the color will more accuratelky match unit to unit. The Diva is about twice as bright as the conventional and has the built in dimmer, so it might be more attractive to you, but there is no four foot Diva, and the alrge unit is a great device, both as a large source and it has the ability to accept practical 4 foot tubes such as is used in the overhead flourescents found in many office, schools, hospitals and other “practical” locations. This way you can “poison” your 4Bank with the same units that are in the ceiling and by white balancing and using your unit on the floor get some source light in the actors’ eyes.

As I’m sure you realize, there are scores of different lighting units, many with distinct uses and advantages; it’s difficult to find general purpose units that will excell in all uses, this is why feature films have 40′ trailors with hundreds of lighting units. There may be particular units that are mosr appropriate for your film, base on its content, style and locations, and you should consult with an experienced DP or gaffer who might be useful in helping to specify the best kit within your limited resources.

JS

[John Sharaf]

If that’s the case I’m sure you can rent a varicam to carry you over!

JS

[John Sharaf]

EC3 will not work with the HVX900, and I very much doubt that the “H” setup cards are transferable, there are many functions that are unique to the Varicam that would only corrupt the HVX900 (Dynamic level, frame rate, Film Rec, Video Rec, etc.)

JS

[John Sharaf]

I don’t know but you must have a short memory; this is exactly how Panasonic handled the “timely” roll out of the HVX200. They delivered just a few units on the promised date (before the end of 2005) and it took several months or more to accomodate the backorders. I wouldn’t expect anything different.

The fact is that it’s a very tricky matter of manufacturing a product as complex as a professional camcorder and even a giant corporation like Panasonic has its hands full doing so. There have been other efforts by smaller companies (like Kinetta) that have taken years and still have not delivered a product. Still others like RED which is supossedly well endowed by Oakley is still struggling to bring a product to market. They don’t call such products the “bleeding edge” for nothing.

You must be patient, the HVX900 will eventually arrive and some will be pleased (especially by the price) and others will be disappointed by other factors.