[John Sharaf]

Dan,

Looking at your test footage on my Apple computer screen (so not completely accurate as to gamma and color) the non-overhead looks dingy and dark. and with the overheads on way too warm but quality of light much better. I don’t believe you took a proper white balance. Try use a chip chart not just a piece of white paper. Proper solution gere is to change out the tubes for photo quality daylight balance. Count the number of tubes and calculate the cost, it probably will not be too much, and then you’ll have the resource to use again in another classroom.

JS

[John Sharaf]

Hi Tim,

I’m a firm believer that HDCAM-SR will become more popular for those folks who are looking to improve quality by going to 10 bit recording and still have a manageable workflow, especially because of S-Log, which I think that once it becomes better known that it provides 12 stops of dynamic range (like film) that it will become the latest “Holy Grail”.

I say manageable workflow, meaning shooting on HDCAM-SR tape as your master and archive and simultaneously recording a high quality “proxy” for editing on either Nanoflash, AJA Ki Pro or P2. This eliminates the need to duplicate and backup the file based recording, it already is backed up on the HDCAM-SR tape in it’s full 10bit 444 glory and can be conformed for on-line later or played into NLE if there’s a crash of the proxy files. In addition you save the considerable expense of renting or buying an HDCAM-SR VTR (SRW5500/5800)to play out the tapes, only renting it for on-line or using the on-line facilities gear at that point.

Another advantage of S-Log is that it does not need additional time consuming and costly processing like RAW does, merely record the LUT out of the camera as proxy, use the LUT in the playback deck if that’s your flow, or use a LUT box or monitor equipped with LUT capability to view the S-Log that you’ve recorded on the file based media (presumes 10 bit like Ki Pro or P2 for best implementation).

I don’t think it will be long before S-Log or similar extended dynamic range curves are available in many cameras. The Varicams have a similar concept and there are aftermarket curves from Steve Shaw Digital Praxis for many of the Sony cameras that are similar but not as extreme.

JS

[John Sharaf]

Check your FCP capture settings. This should not be a problem. Confirm from user bits that the actual frame rate is 30fps.

JS

[John Sharaf]

Anand,

I don’t believe there are 86x nor 100x ENG type lenses, I thhink you mean to say (as regards the 100x) XJ100x9.3B IE-D. This is a box lens that weights over 50 lbs plus support sled for an EFP camera and would be too heavy and awkward for a jib mount. The longest ENG type lens that Canon makes is the HJ40x14B IASD-V which weighs about 12 pounds. I would think this is the biggest lens you could physically put on a zoom, although it is much to long to be used successfully as the jib cannot be held steady enough for such a tekephoto. Jibs are used primarily with wider lenses which both minimize the camera shake and accelerate the swooping movement of the jib.

JS

[John Sharaf]

Someone must have handled the globe with bare hands, depositing “hand grease” on it and causing it to burn. It’s a good policy to clean bulbs with alcohol and handle them in the installation with cloth or paper, but of course you knew that.

JS

[John Sharaf]

Ernie,

You want a Scriptboy, you just don know it yet:

https://www.vtx.co.uk/time/scriptboy.htm

JS

[John Sharaf]

For the four Hand held cameras use new 14×4.3 which replaces the 11×4.7.
For the two Fixed cams on tower at sound console, front of stage use the longest of the box lenses you mentioned that are available and affordable
On the Technocrane L of stage 20 mts away use 22×7.6
For the two jibs, 1 rgt of stage 40 yrds away again use 22x, 1 left of stage near the sound console use wide 14x
1 Robotic on hydro extension. Behind drum riser again it’s a 14x
1 gyro stabilized tethered balloon cam with 22x
1 car cam in front of sound console, 100 yard – not sure if it can accommodate a box lens, if so the longest available and affordable because of the dustance
1 rail cam in front of stage, 75 yard – not sure if you mean 75 yards in length, on lip of stage. If so, then 22x

JS

[John Sharaf]

Yes, Sony controls the discount price on this and some other products under “XL” pricing. All dealers must charegw the same.

[John Sharaf]

While I’m not super familiar with that particular camera, it probably does have an analog digital output which will connect to most professional HD monitors. Sometimes you need a breakout to the three cables.

JS

[John Sharaf]

Michael,

A 30×40′ studio is a respectable sized facility, but in determining electrical capacity you must really consider the type of shooting that will go on in there, and the type of lighting equipment you will supply.

Obviously tungsten units draw more power (and create heat which is a air conditioning concern) than the very popular fluorescents like Kino Flo, so you should allow current for that type of lighting. A typical manifest would be 2 @ 5K’s, 4 @ 2K’s, 8 @ 1K’s and maybe a set of 4K, 2K and 1K Softlights. That’s about 330 Amps @ 120v. We usually budget power at 80% capacity so a 400 amp/120v service would be nominal, and because there are many units in this compliment larger than 20 amps, I’d recommend a motion picture distro service with 20A and 60A Bates connectors, and 100A pass through 10-hole Lunch Boxes starting with a 400 three-phase Camlock panel on the wall.

You’ll also want to consider bringing power distro to the permanent rigging on the ceiling, at least half the available service.

I think this means that the service for the whole facility would be closer to 800 amps total, allowing for the edit rooms, kitchen(s) and air conditioning.

To be sure, you must spec out everything you could possibly use/need as a “power budget” and leave a 20% overhead. Your architect should be asking these same questions. Believe me it will be a lot cheaper in the long run to provide an adequate power supply when you build out, rather than adding it later.

JS