John Sharaf
Forum Replies Created
-
Lawrence.
The best Mike is a soundman named Mike (or otherwise) that has a mixer. boom and shotgun microphone like a Sennheisser 416 or comperable cardioid microphones made by Neumann, Scheops or Sanken. In addition the soundperson might also have body pack wireless mikes and appropriate laveliers and methods of hiding them if required, for clos up sound on characters that move around a lot in wide shots. He (or she) will also have a cable to connect two tracks of the mixer to the camera with a foldback cable to monitor the e-to-e connection at the camera. In extreme cases, where there are many speakers, you might consider iso recording each on a multitrack digital recorder like the Sound Devices 744T which can also re4cord the cameras time code for reference.
If you’re thinking of putting the mike on the camera, then it doesn’t matter what mike you use, the sound will be inconsistent and thin unless the person speaking is several feet away from the camera and doesn’t move. Even an a sit-down interview will be off mike.
JS
-
Doug,
A handheld stabilizer will never equal a Tyler mount in quality or use-ability. There’s no free lunch when it comes to aerial photography. Also a helicopter mounted device is much safer than handholding a heavy camera unit out the open doorway.
JS
-
Jamie,
The most common deck used for DVCPRO100 is the Panasonic 1400 which replaced the earlier version known as 1200A by adding many features including insert and assemble editing. It also includes Cine gamma Correction and a number of improvements in ease of use including switches instead of menu options for some functions. There is a more advanced deck known as 1700 which is more robust for everyday use in edit house environments. Go to the Panasonic Broadcast website for full information.
JS
-
Scott,
I own an Accuscene Color VF which works on both the F900 and the Panasonic Varicam H and later models, but it requires both a different pigtail and a different mounting bracket. I’m trying to sell it if you’re interested. Contact me off list at john at sharaf dot net.
JS
-
Michael,
The thing I would keep in mind is that the flashlight is one thing and that which it illuminates is another. This thinking might require special flashlights that are underpowered as you look into them and overpowered as they point away from the camera. In the movies they often create prop lights that do both these things.
JS
-
Use camera settings to “crush the black” either with gamma (raise number – ie .45 to .55) or master pedestal (lower number).
JS
-
Rick,
This is done all the time. K5600 sells an inverter that is used with two AB batteries to power the 400. You can get an industrial quality inverter to use with marine batts as you suggest, just be sure to use deep cycle batts like marine quality as normal auto batts won’t do the job. With a 1200 you should consider getting several batts and wiring in series to have enough amps to last. One of the beauties of the joker lights is their ability to run at as low as 90volts, so a long extention cord works too. I’ve run almost a 1000′ and it worked, but of course the heavier the cable, the less voltage drop and the longer you can go.
JS
-
ryan,
yes the cameraman should have spoken up, and he just reveals his inexperience and insecurity by not doing so. at the least he should have described what was included in the shot so the lighting crew could have proceeded; even you could have done that, maybe the cameraman and you had not had that discussion yet. someone has to be in charge!
js
-
Ryan,
The gaffer was entitled to know what focal length you intended to use so that he could estimate the size of the shot you wanted lit.
Focal length has nothing to do with the distance to the subject, but rather the size of the lens. By telling him, for example that you were using a 6mm lens on your 2/3″ HD camera, he’d know it was a wide shot and he could calculate how much power he’d need to distribute, the quantity and size of the lights and what to tell his crerw to do.
Without this information, he and the crew would be standing around picking their noses and you’d be asking them what’s taking so long with the lighting after you finally got your camera up.
Lighting crews are often gruff, because it’s hard and often dangerous work, so they’ve learned to be efficient to save energy, rather than move heavy gear more than necessary. Anything that production can do to give them the important information they need to get going is very helpful and ultimately will save timne and energy.
JS
-
Tony,
Probably “detail” setting in camera is too high, creating artificial edge. Either turn down or off and try again!
JS