John Sharaf
Forum Replies Created
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Pat,
You have to understand that there are differences both in the native imager and in the recording format that return us to the old 720p vs. 1080 PsF arguements. The Panasonic Varicam and HVX900 cameras are 720 “native” imagers, as distinguished from the Sony 1080 imager; the recording format is also 720 vs. 1080, so that the Panasonic is forced to “crossconvert” or as some might say “upconvert” the 720 signal to 1080 when directed to do so. That is not to say that it is any worse or better!
Many folks make the point that an particulat 720 field has more resolution than a 540 “field” in the HDCAM, and the ultimate quality assessment is very subjective, especially as regards use in television where transmission and HD display characteristics inly “dumb-down” the picture.
The only time this discussion really has any merit is when the intended use is for “film-out”, namely conversion to motion picture film for exhibition in a conventional cinema; here a native 1080 imager and recorder will show a slight benefit.
JS
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Chris,
As far as I know, there are no “A” frames written in the HVX900 camera, so conventional methods, like the hardware FRC and the software FRC in FCP can not do what you’re asking; that’s not to say that you couldn’t write your own software or perhaps a “macro” in After Effects that would double print or add a 3:2 pulldown effect to the 60 discreet frames.
JS
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No danger! Both units (whatever they are) turn on only when both are plugged in and turned on – essentailly when the circuit is completed. It a very low cost, elegent solution to the 220 power problem.
JS
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Thoughtsauce,
The electricity in Bosnia is 220-230 volts at 50Hz. Just replace your 120v globes with those rated for the native voltage and you’re good to go. The only impact of the 50Hz will be in scenes where local flourescents and/or neon lights are included; set your shutter for a multiple of 50 to eliminate the flicker, such as 1/100th. Most HMI’s can be set by swtich or automaticly sense the different voltage.
Another thing I often do for 220 countroes is make a pigtail in series so that I can plug two 120v devices together, essentailly making them one 220v device; this saves the necessity of a transformer. I do this for devices that are not voltage agnostic or for globes that do not have 220v equivilents (such as the older FAY types).
Bon Voyage!
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Well I usually agree with Tony S. but in this case I’d say that to get into the wedding video business you could probably get by with one good video as a demonstration of your abilities; you could either do it on spec, for cost or as a gift for a friend who’s getting married. As far as a camera, either a DVX100 or equivilent Sony like a PD170 would be fine. If you’re inspired and have a good work ethic and persistance, with a dash of salesmanship, you’ll probably do just fine!
JMHO,
JS
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Chris,
I don’t doubt that you had a problem with flickering, but I do find it strange that your HVX200 at 23.98 doesn’t. Furthermore, the fluorescents, if they’re Kino Flos, are solid state and from my own experience can attest to their stability at the 23.98 frame rate.
So this pretty much leaves the magnetic HMI issue; was it all the units, some units, a particular unit? Can you vouch for the stability of the power?
I have to also look at the F900’s in this scenario; I’ve found that auto knee has a tendency to “seek” and that could also be described as “flicker” in the highlights, although not overall in the picture.
This is a very interesting almost esoteric problem, but I have to think that if it were universal, others would have noticed it too. Could it be that magnetic ballasts have become such a rarity that your problem is so unique? I for one have not owned a magnetic ballast for at least ten years and have an inventory of almost forty HMI’s.
I know I used magnetic ballasts for many years with NTSC video running at 59.94, and that certainly is not a speed divisable by twenty and thus a “safe” speed in the HMI window; by your evidence those pictures should have flickered too.
I’m motivated to seek out a magnetic unit and test this out. I’ll let you know what I discover.
Regards,
John Sharaf
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Chris,
Since this issue can up on this thread I have asked all the experts I could find (and it was quite convenient to do so yesterday ay Cine Gear Expo here in LA) about the HMI flicker “problem” of shooting 23.98 with magnetic ballasts, and to a person everyone thinks that there should be no problem; unless you’re working with some extreme shutter angle!
I wish I still had a magnetic ballast to test conclusively this theory, but all my HMI’s have solid state ballasts. Is there someone out there who can test this conclusively?
Chris, can you confirm to us that this “problem” was a result of real world experience or just a theory?
Thanks,
JS
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Chris,
I doubt very much that you shoot at 24 as oppossed to 23.98! The audio post would be a nightmare and especially so as “your” show is for television, not film out exclusively and is ultimately delivered at a 59.98 frame rate.
As regards the HMI issue, I believe that the 23.98 frame rate is within the “window” for magnetic ballasts and they will not flicker at this rate.
JS
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Alan,
I’ve had good luck with a Linhoff still-photo tripod head. It centers the monitor up over the handle and allows sufficient pan and tilt to place it just where you want. They’re available from the B&H catalog, but be sure and get the larger of the two models.
JS
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Sean,
When I had this problem, I solved by importing through Kona card HD-SDI in and let the Kona card convert to DVPRO100 codec.
JS