[John Sharaf]

Ray,

Yes the 1400 can be powered by DC via a 4-pin Cannon connector (like the 1200a) and includes the cards (Firewire & SDI) that are optional on the 1200A.

If you’re interested, I’m selling one of my 1200A’s in excellent low-mileage condition. Please contact me off-list @ john at sharaf.net for further info.

JS

[John Sharaf]

Tubecamera,

I believe you’re mistaken about the color of your Sony CRT. The principal in play is that all displays are color balanced for viewing in a daylight environment. For that reason they are illuminated by a source of about 6500 degrees Kelvin. The human eye adjusts very well and quickly to “off color” balance, so even when you watch the same displays at night or with your tungsten lights on in the room as ambience your eye “corrects” the color and the mind does the color balancing so that the flesh tones for example look correct.

At Varicamp they do advise you to do your camera adjustments with a DSC chart lit by HMI’s (daylight). I believe this is so that the colors of the Chroma de Monde look the same to your eye as on the daylight screen.

Most displays also allow a cooler color setting of 9000K. I believe this is to compensate for the predominant overcast (thus cooler) conditions in Japan (where most of the displays have traditionally been made).

It is safe to say that whatever color light you’re using to light the scene, once you’ve white balanced, should look similar on the a properly setup monitor.

Hope this answers your question.

JS

[John Sharaf]

Cadge31,

Genericly such devices are known as “overhead sets” and come in various sizes from 4×4′ to 20×20′ and even larger ones constructed by the grips from speedrail pipe and hung from construction cranes, or mounted between buildings.

The frames are “skinned” either with various grades of silk, thicknesses of nets or even solid black to control the sun for photographic purposes of creating a specific atmospheric look or for matching weather conditions of another days’ shoot. The most common usage is to “take the curse” off of the direct sunlight look which comes with a typical sunny day at highnoon.

In addition, various reflective materials can also be mounted on the frames including grifflin cloth, muslin or shinny metalized material sometimes known as “microwave” because of the intense amount of light (heat) it puts out. The frames are in this case positioned to reflect the sunlight and act as a large source of illumination.

Use of these frames requires some skill and concern for safety as they can easily be carried away, or down upon unsuspecting actors or others (crew) by sudden bursts of wind; for they are nothing more than sails put to another purpose.

Professional grips secure overhead sets with strong stands, heavy sandbags and rope tied to sturdy trees, buildings, cars/trucks and stakes pounded into the ground. To do so safely presumes some knowledge of knots and their uses, and even to transport and assemble these units often takes large trucks and crews; just to move a 12×12 or larger frameset takes at least four people and a large footprint once its built-up.

[John Sharaf]

Ken,

I’d also advise anyone using this type of grip equipment to also buy liability insurance, for despite your best efforts to secure, weigh down and even tie up such devices, eventually one will fly away and damage person or property. A proper commercial liability policy will protect you and your assets in such a case, as well as allow you to rent such equipment if you need to.

Regards,

John Sharaf

[John Sharaf]

Unfortunately there is no “input” to the Varicam other than the camera itself, so your proposal would not work. The new HVX900 camera has such a provision however, but I don’t think there are any to be had yet.

JS

[John Sharaf]

Yeah, this is a sticky wicket! When you write 23.97 in the Varicam you create flags in the user bit on the “A” frames, namely the first of each repeated frame. It is these flags which FCP uses to import only the discreet 24 frames per second. When you record the telecine onto the 1200A deck you are not writing such information into the user bits! I think you’ll need to use sone third-party software to create Quicktimes of the 24 frames; not being a post-production specialist, I don’t know what software will do this. It is a weak link in the DVCPRO100 workflow.

JS

[John Sharaf]

Bob,

Dealing with windows (or sky) in the background is a difficult task. It usuallu requires a large scale treatment that costs money and time.

Obviously with the newer HD cameras that have “cine gamma” curves and other methods like the Varicam’s Dynamic Level control it has become more doable, but one must still often resort to using a large daylight source (like an HMI light or a multitube daylite fluorescent), neutral density gel on the window, a stretched single net, or a combination of all the above.

JS

[John Sharaf]

It only matters if you desire to shoot at 4-11 fps. There is no better setting, in fact, there’s really no reason I can think of to have this item mucking up the menu at all!

JS

[John Sharaf]

Milestone,

The Varicam is very different from the Cine Alta setup; namely because of the Film Rec menu which replaces knee and point settings with four presets of “dynamic range” for highlight compression. The real purpose is to create a flat or low contrast negative for filmout, but these settings can be used creatively to deal with extended range and to imitate the film look for other purposes.

To get the greatest effect the resultant video must be processed out (for editing or other WYSIWUG looks) with a Gamma Correction box. This is rarely done, although the new 1400 VTR includes this in it’s circuitry. Also the Panasonic monitors offer this option to “see” what you can get.

By invoking higher steps of dynamic range when you don’t really need it, you create a foggy, desaturated look and steal sensativity and speed. The effect can be compensated for by crushing the gamma and creating a stronger color with matrix but this definately requires a DSC chart, waveform/vectorscope and some experience.

I don’t recommend using this camera without extensive prep to learn how this feature works, and a full discussion of intended ultimate use and post production workflow is also required. If the shoot is for video presentation and there’s no budget for Da Vinci type color correction, I recommend limiting the Dynamic range to 200 or 300%. This way you get some of the benefit of the highlight compression without creating an overly flat and desaturated master. If you need more, because of the extended range of exposure included in the scene, by all means dial in more. For example a lot of sky, looking out the window, or a Chef’s white jacket.

This is both the cameras greatest feature and a potential trap, especially for the uninitiated! When in doubt (or in a hurry) consult someone skilled with this camera, but beware, not everyone who owns or uses it is so.

Good luck,

JS

[John Sharaf]

Bobby,

If you care about picture quality or features like dynamic range and variable speeds go with the origional Varicam; if you need a camera right now, you have no choice, but if cost is your concern the HVX900 is attractive, it’s really a matter of when it will deliver.

The future value of both cameras remains in doubt, especially if Sony agrees to add 720 to the 2/3″ HD XDCAM; if they do, it will become the new Betacam, as all three networks (ABC, CBS and NBC) will be using the same camera, which is very attractive for freelancers. If you’ll be using the camera for yourself or in a closed loop production scheme, then the DVCPRO100 format could live on. There are those to whom tape-less is next to Godliness, I guess you’re not of that persuasion.

JS