[John Sharaf]

Yeah, comparison of camera output while painting on set. In that case where we mixed PDW700/800 (in 720 mode) and old Varicam we recorded camera output full raster to PDW-HD1500 deck.

JS

[John Sharaf]

The fact is that the picture from a 1080 camera that transcodes to 720, such as the PDW700/800 makes a better picture in 720 than a 720 native camera. I can attest to this from experience using them side by side. Not a 2700 but a Varicam F & H vs. PDW700/800, which had to me dumbed down with detail to match. this is also often done with OB cameras that are native 1080 when hired by the 720 networks.

JS

[John Sharaf]

This type of problem reveals the difference between a real “pro” camera and a “prosumer” one repurposed for professional work. Even with the $1000 repair, you’ll still have spent less than on an more robust professional designed camera like a PDW700 and you’ve learned a “valuable” lesson.

JS

[John Sharaf]

Alan,

Green screen can be lit by natural light, but either completely in the sun or completely in the shade. If it’s backlit by the sun you’ll need to layer a black solid behind it too. Often a “roof” is required to preserve and protect the lighting consistency. Sounds like a massive grip job to cover a second story window.

If camera shots are locked off, perhaps you can just “paper” the windows on the outside with green. Use the glass to carry the reflections your after and light carefully to minimize any shadows on the green paper (good luck!).

Find first story location!

JS

[John Sharaf]

Nick,

Can not be done with PDW530. These cameras are either NTSC or PAL, different models. Can be done with PDW700/800. These are universal “world” cameras.

JS

[John Sharaf]

Morton,

Excellent choice of lights. I own two of them, one configured as PAR and the other as Open Face with special reflector. I use them in every possible configuration; hard, soft with large Chimera, bounced, through grid cloth and other diffusion, through windows, etc. etc. In Europe were you live and the power is 220 you can actually plug in a 2.5kw instrument into the wall, and If I were you I might have considered that but in the states with 120v power, this is the biggest light we can run on household circuits.

Congrats and good luck with your awesome new light!

JS

[John Sharaf]

Jared,

Kino Flos are not a particularly good choice for process trailer job, except maybe at night and placed inside the car as sources like instrument panel illumination.

More likely units are 2.5k or 4k HMI’s. Many process rigs have generator or batteries (with inverter) mounted in tow vehicle. Reflections in the windshield, mainly from the sky can be an issue so sometimes a black “roof” needs to be rigged to avoid these, but must be able to withstand wind generated by car travel.

Both lighting and grip technology is important as well as proper camera mounting, so it’s good to collaborate with crew that has some experience in these matters.

JS

[John Sharaf]

Hi Brian,

You might try to essentially “animate” the Shot; break down the action into the appropriate number of “frames” and repeat the action that number of times while adjusting the camera height to where it would be appropriate in the “timeline”.
By making more frames that would actually happen in reality, you could create a “slo-mo” effect. The in-betweens would mostly be a blur, and the final “crash” probably the most important. This should be shot at the slowest motion possible for your budget (probably 60p). A nice sound effect would help!

Good luck,

JS

[John Sharaf]

As I’ve already said, when the SYS FREQ is set at 60 the frame rates are integers and therefore can be set at 25 or 50 for PAL (or even at 24 for those who insist in that rate), when at 59.94 the frame rates conform to the NTSC standards such that for example when you make the frame rate 24 it really is 23.97. Your qualified NLE interprets the flagged frames and creates the 25p or 50i timeline you specify.

JS

[John Sharaf]

Adrian,

The Varicam is a true universal camera for use in PAL and NTSC countries. By setting the System Frequency to 60hz and the frame rate to 25 or 50 it shoots PAL standard (and you can also shoot off speed as well) and by setting to 59.94 you can have all the NTSC settings from 4-60 fps. You’ll need a 1200A or 1400 deck to import by firewire or as base-band video through a capture card.

It turns out that I am selling both some cameras and a deck if you care to contact me off-list at john at sharaf dot net.

JS