[John Sharaf]

Bob,

The problem is that more and more they want wider estabishing shots and the ability to have the participants walk in and sit into the setup. This requires putting the lights further back and so large soft sources are not as practical. Instead we often make long snoots out of foamcore for the keys and fill with softlight from the camera side.

Personally, I havent really changed my preferance for soft sources; usually Chimera smalls or 2’Fourbank Kinos on boom arms.

JS

[John Sharaf]

Fatbeat,

It really shouldn’t be a problem; if anything, the lamps will burn a little warm at the under voltage. Otherwise, if they manufacture photo grade globes in Japan rated at 100v. just buy the instruments as you plan from the US to save money and the globes locally.

JS

[John Sharaf]

Jan,

You’re right, silly guess; DVX has about 400K! Don’t get me wrong though, I’m duely impressed with the HVX picture and can’t wait to receive my order of two units to start.

The question remains however, how many pixels can you possibly crunch together in a 1/3″ space?

JS

[John Sharaf]

Michael,

There are really two differences; the main distinction obviously is the size of the imager, but the effect of this is that the depth of field is much greater on the smaller imager with a lens of comperable field of view. To many the “film-look” is distinguished because it’s imager is so large that even in normal or wide shots there are planes of focus. The skillful cinematographer uses this to advantage to direct the viewers attention to particular things in the frame.

The effect of selective focus can be controlled by iris, focal length and stageing, but the user of a smaller imager is severly limited in range.

The second difference which is manifest on the screen by the comparison of 1/3″ and 2/3″ imagers is that the larger imager has space for many more pixels. The Varicam for example has more than one million pixels on each of its three chips, whereas the HVX200 has ??? pixels on each chip. You’ll notice that Panasonic refrains from quoting a number both in literature and in person, because the number of pixels does not approach what many would consider to be HD resolution (on a pixel basis – 1280×720=921600) but through clever use of offset pixel structure (which of course has been used for years on SD cameras too) they have created a camera that looks remarkably sharp. One day we may know how many pixels there are, and I sustect it will be under 200K per chip. Also because of the native progressive scan, all pixels are in use for every field, whereas in an interlace camera (like the Sony HDV) only half the pixels are in play each field.

As you note, the differences in lens quality is significant, and this is because consumers will not endulge the great expence required to manufacture a high quality HD lens, whereas professionals insist on the best. You’ll see examples soon of HD lenses actually costing more than the cameras they’re put on, until economies of scale bring even those prices down as manufacturers begin to deliver quantities of thousands of units to every TV station in the nation.

[John Sharaf]

Joe,

You have to understand that the concept of “quality” is a relative term! As you say, the b-roll of yours that you saw on the History Channel looked good, but compared to what? You must know that some networks will not accept DV format material.

Whether your camera is ‘good enough” is really to be determined by your client. The network news clients I work for always specify a format that they want; it’s been Betacam for many years past, created on a 2/3″ CCD camera. Once in a while, usually for the reason of discression they’ll ask for a DV camera (like yours) or for use as an additional angle or POV shot.

Furthemore, the camera you own in many ways determines your status and/or stature in the production heirarchy; if you have a Varicam or Cine Alta and market yourself as a HD production facility that’s one thing, and if you a have a DV camera that’s another. This should be pretty obvious. But what isn’t obvious is the impression that that distinction often has in the client’s eyes. I’d suggest that the better equipment you have, and more complete a kit you use, the higher regard (and rate for your services) you will command.

Of course, you can’t start at the top, and there is a learning curve to be expected with all types of equipment, not to mention to the task as well. I guess what I’m saying is that you must study the competition, survey your clients and potential clients and figure out how you want to proceed. Buying into a camera and format can be confusing and I can best report that these decisions are best made by your clients for you (businessplan-wise). If you get enough calls for a certain camera/format and you want to make it your business you’ll buy it.

Fortunately, the tax codes are advantagous to small business people like us to amortize capital expenditures on gear by depreciation. Essentially by accelerating your depreciation to take it all in one year (to the current amount of $105000) you’ll be getting as much as a 36% discount on the gear (based on the tax bracket determined by your total income). This can ease the pain quite a bit, and this is precisely the time of year to be thinking about this.

I know I haven’t given you a direct or specific answer, but I don’t think anyone other than your client can!

Regards,

JS

[John Sharaf]

Plus 8 Digital
Claremont Camera
Bexel
Wexler Video
Amp (now some other name)
Camera Support
Birns and Sawyer
Abel Cine Tech

or me – John Sharaf Photography (john@sharaf.net)

FYI, and everyone else who might need to rent a Varicam, Panasonic offers links on their website (by zip code) to Owner/Operators and Rental House vendors in all areas of the country. Look under the “Where to rent” link in the Varicam product page.

JS

[John Sharaf]

JR,

Obviously it would be preferred that by now ( more than 10 weeks since first deliveries) that there was the promised software to convert “F” files to the “H” camera. There has been considerable sharing of these files, both amoungst various users and even on several websites (check archives).

In addition, one of the best things about the Goodman Varicam guide is the many “looks” that are exemplified and explained therein which can be codified and entered into your own file card.

But to be completely frank about it; there are so many settings and many of them user-specific that it’s incombant on any serious Varicam operator to know and learn the menu structure and the many components available for custom settings. Granted that some settings like flare and matrix require sophisticated test equipment (waveform, vectorscope and DSC chart) to personalize, optimize and customize; but in addition there are so many others that are dependent on the particular task at hand (frame rate, dynamic range or knee settings, black stretch or press, aspect ratio markers, battery type, color bar preferance, etc. etc. that someone who plans to get the most out of their Varicam should invest some time (and maybe even some money with an engineer) to create there own settings.

That’s not to say that I wouldn’t share my settings, and I’ve studied many others settings in the process of learning how I want to setup my cameras, but my point is that by learning the many permutations available in the menu you’ll ultimately be in better control of the camera! I’d be the first to admit that it takes time, and the process is never ending, but in many ways that’s the opportunity of using such a tool!

Finally, I have to tell you that the settings I understand, value and use most are the ones I’ve discovered and learned about myself, through trial and error and experimentation and it will probably be the same for you!

JS

[John Sharaf]

While the bars themselves are a moot point in digital transfers because the levels are preset and unchangable, the audio tone does help to line up the transfer or capture levels if brought in analog. Also I’ve found it a good idea not to record precious program on the first few turns of tape on a roll as dirt has a way of accumulating there.

JMHO

[John Sharaf]

Jennifer,

If you want to capture into FCP with firewire, you’ll also need the Firewire Card Option. Deck with both cards comes to about $31000 less prevailing discounts.

The discrepancy in pricing is confusing, especially because of the weak Yen and prevailing higher prices in Japan; I can only reiterate that the price quoted you does not include the option cards.

JS

[John Sharaf]

Cinewalt,

My guess is that you’ve started the capture while the color bars are playing!
This is a common error resulting in FCP thinking that you have a 59.94 project;
it turns out that the Varicam always recors color bars at 60 fps (no flags), so
merely start your capture after the bars have past!

JS