John Sharaf
Forum Replies Created
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Mike,
That was my thought too, but apparently you’d have to completely seal the lead protection around the camera; one little opening and the cosmic rays enter! Obviously the weight and logistics, as well as the new lead-free environmental rules preclude this course.
That’s not to say that I have not travelled on airplanes with my Varicams, I have, and as yet, no lit pixels, but just a thought! The camera does have pixel correction, but if they’re in a clump the correction will result in a visable area!
JS
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Mike,
The major dealers on the left coast are Birns and Sawyer in Hollywood and Abel Cine Tech in Burbank. I’ve bought from both and can recommend them highly!
Perhaps you know, but Panasonic makes a point of shipping new cameras by boat rather than expose the ccd’s to the possible gamma radiation when shipped in airplanes. You might consider doing the same when you buy your new camera!
JS
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Stan,
It’s a quirk of Panasonic; after menu items 12 to 26 (HD SYS H ADV) the numbers start over again with three digits 001 to 899. It is in the three digit menues at 020 that you want to tell the machine you are sending it 720p REF signals (“for setting the format in which to record or playback the signals including the HD REF signals). For some reason the factury default is 1080i (0000); you want 720p (0001). It’s on page 35 of the instruction book!
Good luck,
JS
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Menu #020! System Format 0000 is default for 1080i, use 0001 for 720p!
JS
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My Panasonic sources are now saying Christmas!
JS
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Stan,
Probable cause is that “SYS FORMAT” is set at default 0000 for 1080i, go to menu setting #020 and change to 0001 which is for 720p mode!
Let us know if this fixes your problem!
JS
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Lighting glasses is a real trick; some glasses are more difficult than others but here are some ideas:
Set the Key light high and close, or around to the side, and fill with a bounce off the ceiling or someother place that does not find itself in the lenses.
Light from the off camera side; this way the reflection is rarely seen because of the anle of the bounce.
Use special non-glare glasses (talent that appears on TV often usually invest in these), sometimes you’ll still see the reflections.
Construct the key light to look like a real light source, so the reflection in the lens is believable.
Sometimes raising the camera fixes the problem, but be careful not to go too high and make a funny looking shot. Less a problem with women than men. In the same way you can sometimes just tilt the glasses slightly to minimize or eliminate the telltail reflection.
Tell us if you come up with some other solutions!
JS
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Chris,
You’re absolutely right; “mag-striped” reversal film was made specically for single system newsfilm shooting on cameras like the Auricon and CP16. The newsfilm was rushed back to the lab at the station where (in smaller markets) the cameraperson would develop his/her own film and then “displace” the sound into dead sync to cut the origional and then “offset” the sound again so that it could be played in sync in a projector.
Such stock was not intended to be dubbed back onto in the end, there were other low contrast print stocks with mag stripe for this purpose. I’d really be suprised if Kodak (or anyone else) still makes such stock, but it sure brings back memories!
JS
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Vlady7,
The same frame rate distinctions hold true for film as video; generaly in countries where the electricity is 50Hz the film and video is shot at 25fps, where the electricity is 60HZ it’s 24fps. These speeds have implications when shooting in discontinuos light sources (like fluorescents) and as regards the timing and length of the finished projects. Suffice it to say that when 25fps films are shown in 24fps counties and visa-versa the only real fifference is the running time.
JS
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Vlady7,
“Putting sound on 16mm film” is done in the final lab process known as composite printing.
Throughout the conventional film editing process, picture and sound are seperate; photographed and recorded on seperate pieces of equipment. The film is developed and printed as “work print” and the audio transfered onto mag track (perferated audio media the same size and length as the matching film). Then the two pieces are “synched” up based on common markers (slates) and often edge coded so the two elements can be realigned once the slates are cut out.
During the editing process, additional audio tracks are often added, requiring a mix-down to join all the dialog, music and effects on one piece of mag track. The edited workprint picture is conformed to the origional camera masters by lining up the edge codes common to both in an A & B roll so the slices can be eliminated from the final print.
The lab takes the A&B rolls of camera negative and times the color and exposure in order to prepare for the 1st trail print. The audio can either be combined with the picture by an edge mag track or by creating an optical negative which is printed onto the composite at the same time as the picture.
If many copies will be required, an internegative is often made from the A&B rolls to save the origional from unnecessary wear, and subsequent prints are made this way.
A good lab will assist you with any and all of these processes and often can either direct you to a negative cutter or due the work for you in house. You will find this to be a complex and costly process, which is why High Def production is becoming so popular amoung producers who used to work in 16mm.
I hope this helps!
JS