[John Sharaf]

While intuitively this may seem like the best approach, a better means of exploiting the DOF characteristics of small imager cameras is to place your subject at about 6′ from the camera, use a portrait focal length (equivalent to 85mm on a 35mm still camera and put the background as far away as possible. This often entails shooting through a door (if sound from the next room is not an issue) in small rooms like offices. By backing way away from the subject (assuming the same subject to back wall dimension as above) the in-focus zone is actually much bigger.

JS

[John Sharaf]

Hi Ernie,

From what I understand, the Canon and Fujonon “Image Stabilizers” are really meant for newsie shooting from temporary platforms where people moving around amplifies the jiggling. Fighting the wind I think is another story. The best thing I think you could do for nature shooting is to use a heady dity tripod and legs, like the steel Ronford legs and as large a head as you can manage, especially with the 40x and 42x’s. I assume you’re using some kind of sled for support too. In addition, you can build a wind “blind” using 2x Nets in 4×4 frames. I’ve seen these used effectively to break the wind for steadycam operators who are also susceptible to the winds effect. All you might really need is one 4×4 2x Net up-wind of the camera and lens.

JS

[John Sharaf]

My bad for not checking more closely. The HDX900 predated the Lectro Slot Receiver, so yes it works like the Sony’s only one channel is through connected, to use both you must pigtail to the rear XLR’s.

These other Panasonic cameras have two-channel internal connection:

AG-HPX300 P2HD
AJ-HPX2000
AJ-HPX2100
AJ-HPX2700
AJ-HPX3000
AJ-HPX3700

While this is a bit of a pain, the advantage of powering the unit internally, rather than with another cable is immense as is the ability to leave the receiver installed in the camera’s carry case, which is not possible when attached to the AB plate on the side.

JS

[John Sharaf]

John,

No, you do not need a mixer, but without a properly equipped sound technician to monitor and adjust the levels on the inputs, you’re casting your fate to the wind. Of course you can mount the transmitters on the two subjects, tune them in to your slot receiver, adjust the levels before you roll and hope for the best.

I do not have any HDX’s, I use my Lectrosonic Slot receivers on my Sony PDW700 & 800’s, but am familiar with the setup on other cameras. If you still have questions, I recommend you go to the Lectrosonics website and peruse the Slot Receiver information there, it is rather complete.

JS

[John Sharaf]

Receivers like the Lectrosonic SR-5a Slot-Receiver are two channel units. Sony cameras hoever do not allow two channel input through the slot, you must use a pigtail and connect to the rear XLR’s, but you are in luck, the Panasonic cameras have internal two channel connectivity to these type of receivers and if fed by two compatible transmitters on two people you can route the inputs to any track on the recorder. The usual application of this type of receiver is to receive the “hitch-hike” from the audio mixer who can adjust, monitor and mix his/her inputs and then give them to the camera without a wired connection.

JS

[John Sharaf]

When shooting green screen, in addition to advice about lighting, turning detail off to avoid overly enhanced edges is normal. Also refrain from using gain to minimize noise, but that should be obvious. There is often conflicting advice about video levels, I prefer lighting the green one stop under the key, this helps eliminate green spill and is no problem for the keyer especially if evenness is good.
“Vivid” setting strikes me as not a good idea, as is implies to me a strong matrix. I often turn matrix off too for green screen because the screen itself has so much color there’s no need to increase saturation. Best advice, as with all effects, is to test out through your entire workflow. It’s almost always cheaper to do this than re-shoot.

JS

[John Sharaf]

Probably out of phase; if each track sounds good by itself this is the case. Simply use phase rverser on one side and reimport.

JS

[John Sharaf]

Think about it for a second, and then trust your instincts; if adding gain (+3, +6, etc) increases noise, then subtracting gain (-3,-6) must….reduce noise. Correct. What is really happening is that the sensitivity of the green channel is changing and to compensate for proper white balance, the red and blue channels must gain up or down to match, the rub is that as blue gain increases so does the noise. Of course there is no free lunch, as you subtract gain and get a “quieter” or more noise free picture you get less dynamic range in the highlights. Some cameras must even gain up to -6Db to get their fullest dynamic range, so be careful. If you’re looking for extended dynamic range to accommodate detail in darker darks and brighter whites then use Nd filters rather than minus gain to control your iris to wide open.

JS

[John Sharaf]

Go to second color correwction page and rturn saruration all the way down in every directrion

[John Sharaf]

Marco,

You can shoot in black and white by simply turning the color down (and off). This is done with the matrix. Turn the numbers down all the way. Alternately you can shoot normal (in case you change your minds later) and turn the color down on your monitors.

JS