John Sharaf
Forum Replies Created
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It’s a head clog. The cleaning tape is not usually sufficient to clear up the problem, a professional cleaning from Panasonic might be the only fix.
JS
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Paul,
I believe you are correct in being suspicious of long GOP recording formats vis a vis strong movement. Perhaps you should consider a 720 60p solution like Varicam or any of the P2 Panasonic cameras for this project (swingset), which will offer you the best slomo capabilities short of a dedicated slomo camera.
JS
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Thomas,
No matter what the client wants; in this case the best they can do with a Varicam is 4:2:2 color sampling and record the HD-SDI output (spigot on back of camera) into a capture card (like AJA Kona) connected to FCP using ProRes highest quality codec.
The only cameras that provide full 4:4:4 color sampling are F23/35, Viper, Dalsa, Genesis and Arri D21.
In the Varicam class, a superior (1920×1080) and or more convenient 4:2:2 workflow would be to use a Panasonic 3000 and record 10 bit color depth on P2 cards.
I find it amusing that clients throw around technical jargon without knowing what they’re talking about. It would be more appropriate for them to merely ask the camerperson for advice in determining the best possible workflow for quality, and then, as is the usual procedure settle for less because they can’t afford it.
JS
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Thomas,
Whatever “you were told” ten years ago is no longer true. The reason you don’t have a color viewfinder is that it’s an expensive accessory on high end cameras. The second generation $10K+ color viewfinder for the F900R (that also goes on the F23/35)is a gorgeous, highly desirable option on these cameras vs. the $3K B&W version. It’s resolution is equal to or greater than the monochrome.
In response to buyer demand, Sony did show a more moderately priced alternative color VF at NAB last and this part will probably find acceptance on the PDW700 HD cameras where the VF (both B&W and Color) is an a la carte option.
JS
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George,
What happened to the dictum that “the client is always right?”
As far as “switching” what they want, if they specify HDCAM, that’s usually what they want. It’s because all their other elements are in that format or they own the deck to digitize it, or even some other illogical reason.
If they ask for Varicam, the switch to HDX900 is a no brainer, or vis versa. Sometimes I’m able to switch a Digibeta request to a high def format or even to XDCAM/IMX50, but the premise of your query is the reason I have both F900R and Varicams; yes in a large market you have to be able to supply what the customer wants. I believe that in regional markets like where you live there is more flexibility, as the other camera or format may not exist or be available because of limited resources, then your offer makes more sense, but you are obviously aware that the quality of the X900, with its’ million pixel imager is not that of the F900R with twice as many pixels and a fatter recording format.
I’m afraid that there will be many HD formats in play for the foreseeable future and freelance owner/operators will have to decide how many cameras they’ll maintain in their kit to service their client bases’ requirements. Fortunately the lenses, monitors, test sets, da’s, etc. are all interchangeable, so the only extra part is the additional camera body, and if it seems like it will last/be in favor for three or more years then it’s quite possible to profit with owning it, but as you know, it’s still a risky and expensive proposition.
JS
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Luke,
No and Yes!
Field monitors should be strong to resist ruff treatment in the field. In addition they should have inputs appropriate to the cameras you use, for example analog component input or digital HD-SDI. Also helpful is built in waveform function for setting exposure as the Panasonic line of monitors have. Size is an issue, as you might want to mount on the camera (8″) or else for use as client type monitor (17″ or larger). You might consider a larger 23″ monitor like eCinema for double duty as field and editing room monitor. Be aware that most LCD’s (except the eCinema and Cinetal) have false brightness which makes them not ideal for lighting, exposure reference or color correction.
Monitors come in 1080 and 720 specifications, and again you really want the appropriate “native” display that matches your camera or future camera. It’s likely that the monitor will have a longer useful life that your current camera, so try to futureproof this purchase to amortize the expense.
JS
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Dave,
there are a lot of the original F900’s on the market, mostly because the replacement F900R is so much better (smaller, lighter, more features, etc.). This is not to say that you can’t make great HD pictures with the older camera. There are even some new, in the box units, b-stock with full warranty and many low mileage owner-operator units around. I’d be particularly careful of a rental company camera, not that the mileage would really be the issue, but that you can never know what type of use or abuse it’s had. The rental company owner can honestly claim ignorance about this too, as he wasn’t necessarily there when the use occured.
I might be able to hook you up with a NIB unit if you want to contact me off list.
Regards,
JS
john at sharaf dot net
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Steve,
I’m not familiar at all with the EX1 but the manual on page 111 says that (counterintuitively) that the YPbPr/SDI setting should be “off:” to get analog composite sd out. Otherwise (“On”) must be SD-SDI. Try this.
JS
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Steve,
We’d like to help you, but you haven’t indicated what camera you’re using; some cameras like the F900R Cine Alta (which is the namesake of this forum) only have SD downconvert with the addition of an option card. Others like simply require the proper menu setting for the output spigot (video out or test out). If you have set the menu correctly and still no output, check the monitor.
JS
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Nelson,
It’s not just Dennis, almost everyone hates this fixture, mostly because it’s so hot to the touch and gross in it’s lighting effect. Lowell certainly was one of the first to make compact kit lights and deserves some credit for furthering the concept, but the execution of that concept in this and other of their instruments leaves much to be desired. Their ideas were certainly very clever but mostly impractical and other manufacturers like Mole and at the time, Colortran, learned from Lowell’s mistakes and brought much better equivalent products to the market. In Mole’s case, the Mickey Mole 1K open faced quartz light is a much more elegant implementation, albeit a little bigger both by itself and in its case.
JS