[John Sharaf]

Sean,

Try converting to 30fps through the FRC (hardware or software). Perhaps this will smooth out the motion.

JS

[John Sharaf]

Sean,

It may seem too obvious, but the best sources for these types of repair are Panasonic and Sachtler. I’ve dealt with both and while the prices may seem steep, they actually can fix the gear and get the necessary parts!

JS

[John Sharaf]

Cat,

Par lights have been around a long time too!

I’m sure you know and appreciate how the pattern of a fresnel is round, adjustable and even (circular). The Pars on the other hand are focused by choice of lenses; wide, medium, spot and narrow. They allow a punchier light when required and an elliptical pattern without doors or gobos. With the spot and narrow the light becomes very shafty and strong, even at long throws.

Once you become familiar with the benefits of these units, which I suggest you do by experimenting with the different lenses, you’ll find a use for them in your lighting designs.

[John Sharaf]

Maybe I’m missing something, but why don’t you just recapture correctly? I’m guessing that you’d have to rental a deck to do so and the $350-400 is a deal breaker, but you’ll easily spend this amount or more in labor for a work around and the results will not match the rest of your footage.

JS

[John Sharaf]

Sandbags good! Safety first – if you are really safe, you’ll use a safety chain or nicopressed steel rope to safety anything hanging above a person; just loop it around the pole and the device, use you’re common sense.

Here’s a MSE part that you can attach to the end of the grip arm (opposite head end): #429232 Right Angle Adapter @ $39 list.

This isn’t exactly the round slider I use; I think that’s Norms or American hanger, but I couldn’t ID it in the American catalog (there’s no pictures) and Norms doesn’t have a website, but you could call them and ask for ca “slider with baby pin” that will fit a c-stand arm. They’ll know what you’re talking about.

Magic finger is too heavy and expensive for what we have in mind here. The closest thing in the Mathews catalog is the hanger adapter for the furniture (aka bar clamp) clamp, but that’s square not round.

Again, trust your instincts, make mistakes abut learn from them. This is really how everyone else does it!

Good luck,

JS

[John Sharaf]

Don’t start taking apart your old stands; all you need is a slider with a baby spud to affix to the c-stand arm. This will allow all the pan, tilt and yaw that you need. Be sure and add a sandbag to your kit to keep this rig from falling over and of course, make sure your liability insurance is paid up in full!

JS

[John Sharaf]

If for no other reason, their probably adding a FW connection to the 1700 deck. It’s a good idea!

JS

[John Sharaf]

You can capture either to a 30 frame or 24 frame timeline, using 24 saves you at least 20% in storage space.

Because you’ve shot on the Varicam (DVCPR100) it’s only logical to post in the same codec. The ProRes codec is FCP’s way of dealing with HD-SDI inputs from other systems, mostly HDCAM that provides a storage friendly option vis-a-vis editing uncompressed HD.

Yes, Varicam 23.97 10-bit

That’s the $64K question. ProRes of course has three levels, I suspect because you’re coming from DVCPRO100 it can only be that good, so the HQ level might end up using more storage for the same quality.

JS

[John Sharaf]

Now it’s a FCP issue; check your setup criteria.

JS

[John Sharaf]

Try menu setting #880 DIF SPEED. Change from HD default 0002 to 0000 which is 100 Mbps. This should do it!

JS