John Sharaf
Forum Replies Created
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Joe,
I’m waiting for delivery of one of these units from Markertek, so I don’t actually have hands-on, but I can tell you I have other AJA products and they are always what they say they are, are bullet-proof and come with great customer support.
At the pricepoint and with multiple outputs this unit will become ubiquitous for any hard-wired multicamera shoot with the Varicam especially, as the camera does not put out a “Y” signal which can be used for tri-level-sync (like the HDX and F900 does) and also as an inexpensive (about $400 with power supply) solution for sync in NLE.
Congrats to AJA, now just get enough of them out to meet the demand! This product was announced at NAB last spring and is just starting to trickle out now.
JS
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Michael,
Where you using it as a power supply? With monitor on board? Does it smell burnt?
JS
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I charge good rates as a cameraman, yet I’m constantly surprised to learn that makeup artists often make more than I do, and work shorter hours and hardly lift anything. Yet their value to the final picture can not easily be diminished. Some camera people do carry powder to ameliorate the issues you describe, but I consciously choose not to, because I have little to no expertise in this field and would rather not be accused of ruining the picture because of a poor application of makeup.
If the “look” of the subject, vis-a-vis the makeup, hair or wardrobe is that important, then their should be a suitable “glamor” department to accommodate. JMHO!
JS
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Leo and I did not collaberate on these answers; I was writing mine as he was posting his! Hi Leo.
JS
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There is no “one” prescription for lighting a car scene. Obviously different technique would apply for day and night scenes. Depending on the lighting manifest, you’ll need battery or generator power. Towing the car is often a requirement both for safety reasons (lights in the drivers eyes) and for proper camera position and to carry the power source for the lights.
“Fresnels from the floor boards” would be the last thing I’d think of, unless I was shooting a monster movie in a car. More often the lighting instruments are the type you can easily hide in small places like car interiors; kino flos, led’s or even the new Rosco pad lites. Otherwise lighting units are sometimes mounted on suction cups or car mounts on the hood. Once the quality and style of lighting is established, then the units are moved each time the camera moves. Multiple cameras increases the complexity of the lighting and quite often car shots are now accomplished by process photography combining greenscreen and background plates matched in quality of lighting and movement to sell the composited effect.
It would probably be a good idea to study some car intensive movies to spark some ideas; one in particular that comes to mind is a Jim Jarmoush film that takes place in taxicabs all over the world (I forget the name, but I’m sure you could figure it out).
Be forewarned, shooting in a lit car is both difficult and dangerous and you should be properly prepared with insurance and skilled technicians to accomplish your objective.
JS
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What really matters is the native resolution of the origionating imager:
1920×1080 vs. 1260×720. The HDX is a 720 native imager and the transcode is made electronicly and then recorded on 1920×1080 (subsampled?). This transcode can be made anywhere in the post workflow; in the camera, in the digitizing, in the output in the transfer to HDCAM or even on playout. It will all look very similar and unless you are going to filmout reamins a relatively moot point. The fact is that most exhibition on home sets is at 720-760 lines resolution anyway, and the signal is severly compromised by encodeing in transmission or duplication anyway. -
Wynn,
The star filter effect you describe (in specular sources like headlights) can also come from the iris of the lens. The number of points often corresponds to the number of blades in the iris, especially when closed down towards the maximum.
JS
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FYI, feature film production in Europe (namely in 50 hz countries) is shot, posted and exhibited at 25 fps, so it makes sense to do the same with the Varicam, as it is essentially replacing a film camera. The ultimate authority in your case would be the postproduction people involved in you show; you must interface with them to prevent a firestorm later on!
JS
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E,
The donation of the PAL standard HVX200 and the post in Europe would indicate to me that you shoot 25 fps. Just set the frequency rate on your Varicam to 60 (page 4 – options) and the frame rate to 25 and start the party!
JS
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Dan,
Sounds like you need to clean the heads!
JS