John Sharaf
Forum Replies Created
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I would use the Panasonic 400 switcher. It has full keyer and operates in 10 bit. You would need proper input card or AJA device to make SDI from your camera output (as I don’t believe it has such an output).
JS
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Yes, but to reap the benefit of the 10 bit depth, you must use it from the beginning, so that what you send to Color for correction has all the information. You probably know that!
JS
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Not really a post guy, but I’d think your answer is in three letters “AJA”. Either install a Kona card in a desktop Mac, use HD io with a laptop or record ProRes in a KiPro for maximum portability.
JS
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No problems per se, just make sure you have a proper RAID 5 storage with enough capacity and bandwidth to accommodate the amount of data that comes with standard quality ProRes 10bit 422. There are various flavors of ProRes, and they are all very good. Usually no need to go to the highest, known as HQ.
JS
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Yeah, if color purity and ability to color correct is your major determining factor, the Panasonic’s ability to record 10 bit in AVC-I codec clearly is superior. Remember 8 bit is 256 shades or gradations of gray and each color, 10 bit is 1024, four times as much, resulting in much more subtlety and accurate, less cartoon-look color. I am a fan (and owner) of four PDW700/800’s but also own a 10 bit 444 camera for green screen and filmout purposes.
JS
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Sebastian,
The only 444 cameras are the Sony F35/F23/SWR9000,HDC1500 and Panasonic 3700 and all cost many times your budget and the Sony’s must shoot on HDCAM-SR requiring a $75K deck to play back 444. The only cheap part about 444 is that Final Cut Pro can handle it with Pro Res codec.
What you do need is at least 422 color sampling and a properly setup camera with the matrtix adjusted to a DSC Chroma du Monde chart for accurate color reproduction, and a 10 bit recording format would be advantageous to allow post color correction without destroying the image. This leaves you with very little choice; I’d recommend a Panasonic camera that shoots 10 bit AVC-I codec. I’m not sure which one you can afford, but we’re talking about their 500 and 2000 cameras. Their top-of-the-line 3700 is 444 capable although I don’t believe it can record it, just output it to record on HDCAM-SR or directly into the computer.
JS
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Dan,
Even an overcast day will be fine, in terms of having enough “north light” for both the quality and quantity of light desired.
If you do want to add artificial daylight balanced illumination (either bounced off the ceiling) or direct through a Chimera box, you best bet is a couple of 800w Jokers. With this wattage, it’s unlikely you’ll blow a fuse even if you plug them both into the same circuit. But do try to split them into different circuits. I would think that a modern classroom would have two circuits. Best to check with the custodian, and look at the fuse box. It is important to at least know where it is in case!
These lights rent anywhere from $100-300/day each.
JS
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Winn,
You need a real “pro” dolly grip. He’ll lay tack and use a platform with “boogy-wheels” and push you fast. I wouldn’t recommend curved track though, keep it straight and let the actor exit the frame. Also remember that when the actor is large in the frame (you’re close) the speed will be exaggerated so you need not go as fast as you might think.
JS
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If the point is to show the course of the day, then one exposure will do that. What you’ll miss is the city lights coming up as the day recedes unless you pull the4 iris, but unless you do it carefully and correctly, you’ll ruin the shot. try a sample test run first to find out.
JS
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Renny,
Take reading on the day before at high noon. Use this exposure. Shot will start in the dark and end in the dark.
JS