John Sharaf
Forum Replies Created
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Michael,
Regardless of the recording format, new permutations of High Definition photography will eminate from Sony and the other camera manufacturers. As end users we are the tail that the dog wags; we must use the products the camera makers create and our clients choose. This does not mean that we love every aspect or feature included, but as creatives, must find our own ways to make best use of these products.
That’s precisely the value of this (and other) forums that exist for productive interaction amoungst users, resellers and manufacturers. In fact there are very few such venues that actually bring all these parties together in such a persuit. Even the trade shows, which one might reasonably argue are intended to do the same thing, inevitably are more marketing oriented.
I’m more into expanding the “jurisdiction” of this forum as opposed to limiting it, and hope that to do so would help to increase the traffic of questions, answers and commentary here that would be helpful to all cinematographers who are now expanding their horizons into video photography. We should cherish the participation of practisioners of all levels of experience, for where else will the neophites be able to learn? Hopefully they will be greatful to those of us who are willing to share our hard earned lessons using Sony Cine Alta HD gear here.
JS
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Bob,
I use small vinyl labels made by greyarc who is an industrial stationer and supplier; you can easily google their website and catalog. For items too small for the label I use a distinctive colored tape, usually shiny electrical tape which comes in many colors and is coordinated with the labels’ color.
The round plate with the baby pin is often called a “pidgeon” or wall plate, base plate or baby plate!
JS
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Leonard,
The simple solution to your multicam problem is to treat the HVX just like you would a sync sound double system film camera; eith hit common markers or a tc slate. Then use the multicam setting to sync on common mark. Granted this does not carry the TC into the project, but presumably you’re editing in native format so there’s no need to later match back as in on-line; your finished project is your finished project!
JMHO
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Jelena,
From what you describe, the best choice is the Varicam, both in terms of the creative and financial aspects. It very closely imitates film both with the speed (24p) and the cine-gamma settings, and the price of a one day rental (weekend) would most certainly be less than the cost of the film, procesing and telecine of 16mm.
You should know that the full price, “book” rate, which is closer to $1200-1300 is almost always discounted by 30%, especially for students and other cod customers, so the one-day weekend rental would be closer to $850! That doesn’t seem like too much for a “thesis” project. I spent thousands on film and procesing, not to mention first trial and release print for my thesis film project at UCLA Film School back in the seventies!
Tell us where you live and perhaps some Varicam owner/operator nearby will cooperate with a loan, special deal or trade out.
Good luck,
JS
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Harv,
Just a guess that the clip starts with color bars. If this is the case, FCP thinks it’s a 59.94 project, not 23.97. Redigitize with out the color bars!
JS
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As an aside, you should know that with a capture card like the Kona 2 you can come in HD-SDI and still put the DVPRO100 codec on the storage. The card has hardware capabilities to do so, and my experience is that it’s more reliable than the FW method; it just seems like there are less hiccups.
If you intend to have an HD monitor for viewing you’ll need the card anyway (or some similar solution) and in the great scheme of things, the $2000 or less for the card isn’t very much money.
JS
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Sean,
I think you’ll find that even purchasing the extra drives (perhaps two terabite fw drives at a cost of $2000 total) will be cheaper than the labor, machine rental and tapestock required to make downconverts which still have to digitized at real time into your NLE.
JS
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Don,
Thanks for your comments and questions.
My old soundman used to explain the rig as ” no boom arms, no party!” and by that he acknowledged that to successfully light a two camera network style interview (especially with men who require a little more modeling than just straight-on keys) the key lights have to reach around and come from the off-camera side, yet there can be no light stands in the opposite shot. The only way to do this predictably everytime is with boom arms (granted polecats or wall spreaders also work, but there isn’t always walls to rig to).
As a result, my lighting kit always includes four baby boom arms (Mathews) with drop downs, sturdy combi stands and eight sandbags. Each stand gets a sandbag at its base and another as a counter weight on the end of the boom arm. Further, care must be taken to position a lead leg of the stand underneith the arm itself. Knock on wood, I’ve never had one of these fall over on anyone. Some folks also use a ratchet strap for safety. I also have some rather large stand boxes that carry this rig on location. The sandbags are shipped in network “onion skin” bags or rented on location if we’re already picking up a local grip/electrician to help out.
My normal unit on the end of the arm is a 400w Joker Bug in a small chimera for the key and a 200w Joker Bug for the backlight (seperate stand/boom arm/sandbags). These units are very light and condusive to this setup. On occassion, especially where power is an issue or where I have to use tungsten, I’ll hang my 2’Fourbank and 2’Twobank Kino Flos instead (ballasts seperate to reduce weight). They’re a little heavier but still work. On some occassions where we want either a harder source or more umph I’ll put a 400 Joker Black Jack or an 800 Joker on the arm. Any of these units can safely be suspended.
In the prison waiting room, I think we had three 20a circuits which is just enough for such a setup. If I use a 400 as key, a 200 for back and another 200 as fill, that’s 8 amps per person. This still leaves enough on each 20 amp circuit for a 750w Source Four or even an 800 Joker to paint the background. The third circuit allows extra capacity for the middle backround in the pyramid two shot (such as the dolly shot in this case).
Now, I have to recommend this boom-arm setup only for experienced lamp operators, who are familiar with the equipment and the principals involved. It requires that everything be meticulously maintained and operated without compromise and it’s a good idea to have your liability policy up to date as well!
There you go, no secrets!
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Don,
I haven’t actually seen the article, I think my copy of the magazine was lost in the mail, but I do remember submitting some photos from a 20/20 shoot we did in a maximium security prison, although I thought the editor preferred some other photos from the GMA set at the Emmy Awards one-on-one room.
You must be refering to the photo of Elizabeth Vargas, who was interviewing two guys (seperately) convicted of a gay-bashing murder (Mathew Shepard)in Wyoming for an hour-special they were doing on the subject. We taped in the vistors center where we set up three cameras, one on a dolly and a number of lites to create a moody prison look. I actually had some gobos for the Source Fours that looked like jail bars and chain link fence which we used.
That piece was actually the first that Elizabeth had reported after she was named the new co-host of 20/20 to replace Barbara Walters. We saw Elizabeth again just recently here in Los Angeles where she interviewed our Mayor Antonio Villarigosa for World News Tonight where she has recently also become the co-anchor.
If you have any other specific questions about the setup, I’d be glad to respond.
I’ve had occassion to do quite a few interviews in jails and prisons over the years, including a Barbara Walters’ interview with the Menendez brothers the last time they were together and the “notorious” rap-record producer Shug Knight (both in the LA County jail) and others at San Quentin and Folsom prisons here in California. The best part is always getting out at the end of the day!