[John Sharaf]

Bill,

Although they are not internet friendly, I’d recommend PALADIN. Here’s their info:

7351 Santa Monica Blvd.
Los Angeles , CA 90046
Phone: (323) 874-7758
Phone 2: (323) 851-8222
Fax: (323) 851-7328

They’ll have everything you’re interested in anjd will answer their phone, take your order, charge a credit card and ship to you.

JS

[John Sharaf]

Brian,

PDW-1500 is standard def only; you want the PDW-HD1500 which is just starting to come to market. If your Hd material was recorded on PDW-F330/335 or 350/355 cameras a PDW-F70/75 deck will suffice. Also a PDW-U1 reader with latest software will work.

JS

[John Sharaf]

Justin,

I’m familiar with the situation in the Los Angeles shop, where I had two varicams repaired there recently. It might be different in NJ.

They know me well, and I deal directly with the service manager. I even have his personal cell phone number, so I believe I receive as fast a turnaround as is possible and I have to report that even simple repairs take anywhere from a week to ten days.

If you have a pressing need for your 1200A deck, I can only suggest that you rent a replacement while yours is in the shop.

JS

[John Sharaf]

Brian,

No “high end” camera system uses long GOP recording compressions, only consumer and “pro-sumer” units do.

The best compression scheme available at the moment is the AVC-I implementation that Panasonic is offering on their high end cameras like the “3000”. What distinguishes this format is that it’s full 10bit, does not horizontal downrez (full 1920 raster) and uses half the bandwidth of their previous best format (DVCPRO100) at equal quality, or offers double the quality (equal to D5) at the same bandwidth.

Don’t worry about the post production implementation as the players in this arena have to respond to whatever is become popular, especially as it catches on in volume.

JS

[John Sharaf]

Hi Sam,

First off, I’d recommend a wide angle zoom lens like the 13×4.5 for shooting on a small boat. This will allow the close focusing and angle of view required in such a small place.

Now if you’re talking boat-to-boat or from boat to ocean scenics, I’d recommend a gimbal tripod. I used this once on a boat journey across the pacific with great success. I don’t know where you’d get it, but there are more than one marine specialty companies that could help. Basically the gimbal tripod has a heavy weight which dangles on a long rod in the space between the tripod legs (which are tied down or weighted to the deck) and the pendulum effect of the weight counters the rolling of the ocean and keeps the horizon level. Here’s a link with more details and illustrations:

https://www.luminous-landscape.com/reviews/accessories/wimberley.shtml

Obviously there are stabilizing devices too; perhaps even a steadicam, which operates on the gimbal principal. I’ve also used a Kenyon Stabilizer for hand held, but only with smaller cameras than what you specify. Here’s a link:

https://www.microsearch.com/rental/new_rental/pages/kenyon.htm

There are, as I say, specialists in this area, such as:

https://www.sfbayimages.com/marine_film_cordination_services.html

Who can be contacted for details on the latest technology for marine photography.

Bon voyage!

JS

[John Sharaf]

Graeme,

I don’t know if they still offer the Sante Fe Workshops, they were intensive training sessions on this camera. The union and sometimes rental houses have workshops on various cameras, etc. by this model is so well established that these tutorials tend to focus on newer models. Another alternative is to hire an experienced DIT or Engineer in your area to have a small group session with the camera guys at your shop. I’ve done such a thing for several clients. As I said, the F900R has such a rich and deep menu, it’s a crime if you own such a camera not to know how to use all it’s features.

JS

[John Sharaf]

Graeme,

Even -15 on the detail level is a reduction of the nominal detail.

If you’re looking for a “sharp” look, you should be running the detail to +15, as I did a week ago Friday night to shoot Katie Couric’s live shot from the Kodak Theater in LA. On the last shot, that zoomed out from a closeup, I panned the detail from less to more (ending at +15) to make both the closeup and the wide shot look right.

I wouldn’t poo-poo this camera (although the F900R is significantly better), it definitely sounds like your issue is settings. The camera and the menus are very powerful and dense and require a thorough command not only to get the best out of the camera, but to prevent stepping on land mines that can ruin your day.

When you use a camera that is unfamiliar to you (even your own if it’s been out with someone else) you must cycle through and audit every menu setting to have confidence in the setup.

JS

[John Sharaf]

Try black balancing (ABB).

JS

[John Sharaf]

Hi Stan,

You sound like you’re new to using Kino Flos, otherwise you would know that the design of their system includes both tungsten and daylight tubes. rather than gel the 3200’s to daylight, which would leave you with very little output, it’s highly recommended that you just relamp with daylight tubes.

As regards the physics of the light fall off, the Kino’s are exactly like any other softlight source. In addition you have control by either using the louvers to control the spill or removing them and gaining a little output and a wider spread.

Good luck,

JS

[John Sharaf]

Also remember that many cameras, especially Varicam and Cine Alta apply horizontal downrez to the recording to tape, so the resulting picture is softer than what you’re looking at on you monitor.