[John Sharaf]

Absolutely not! Do not foloow this advice!

DO NOT SHOOT AT 60 HZ IF YOU WANT SYNC SOUND IN US OR OTHER NTSC COUNTRY

Always set the systems frequency to 59.94 in order to shoot 23.97, 29.97 or 59.94 so that the sound remains in sync.

Either Goodman is wrong or you’re misreading what he says.

Use 60 Hz systems frequency only for shooting whole number frame rates such as 25 or 50 for PAL countries and for shooting MOS shots for filmout where the shot will be intercut into A & B rolls before composite prints or internegf is struck.

JS

[John Sharaf]

Easy,

Here’s a link to a pretty good site with a lot on HD info, this particular page to audio:

https://www.jkor.com/peter/doublesystemsound.html

Basicly, you want to shoot audio at 29.97 NDF which is what it will eventually play as if broadcast (although the final online will be recorded as DF).

When you create a 24p project to edit in post it will still sync at the whole second.

Same frame rate applies with Varicam at 29.97 (30fps) and 59.94 (60p) and with Cine Alta also, especially because most HDCAM footage is downconverted to conventional NTSC video for offline.

JS

[John Sharaf]

Chimera makes a little softbox for the Anton Bauer Ultralite which is available as either a tungsten or daylite source, but I also recomment the LitePanel on camera LED light which is daylight in balance but comes with tungsten correction gel in the kit. While this unit is pricey it creates a very nice “non-lit” look for night interviews on the street.

JS

[John Sharaf]

The fellow who owned Accuscene now works for Red, having given up his plans to build a company around the color viewfinder he created. I own one of his viewfinders and spoke with him at the Red booth (I’m sorry but I forget his name). Anyway he told me that he concluded that he could not make a living making third party color viewfinders (even though his model is considerably better and sharper than the Sony version) and that Red made him an offer he couldn’t refuse! The remaining viewfinders and spare parts are at BandPro where most of the units that were sold came from, so it’s only logical that they assume the support role for those few units in the field.

JS

[John Sharaf]

The preferred way to pack the Joker for shipment is with the lamp globe up in the case. Are you doing this? I find that around town however it’s safer to put the lamp facing down, but I always switch it around when I fly. The breakage I suffer in air transport is usually the glass beaker, not the globe, so I always carry spares in the space provided in the Joker case.

Bon voyage!

JS

[John Sharaf]

Shutter off; this way individual motion blur will be the same as at normal speed. If you’re using the slomo for some sort of instrumentation effect or for sports you might consider adding shutter in order to make sharper frames, especially if you intend to stop frame and inspect individual frames.

JS

[John Sharaf]

I advise always turning the shutter on when shooting at 24 or 30p; otherwise you’ll have an unusual shutterspeed that renders motion too blurry. It is safe to consider 1/48th. (at 24p), 1/60th (at 30p) and 1/60th (shutter off at 60p) the “default” shutter speed. This is accomplished at 24 and 30 by setting shutter on and at 180 degrees (or half).

JS

[John Sharaf]

Very good monitor? Setup properly? Can’t trust LCD for this purpose as blacks are not correct. What about viewing conditions. Bottom line, for master ped, you better have waveform.

Gamma is best first line of offense for getting “gutsier” picture. Controls are predictable with digital cameras, namely .45, .50, etc.

[John Sharaf]

Redflag,

There are several methods to get a “crunchier” picture, namely

Black stretch (-1, -2, -3)
Crush the Gamma (from .45 to .50, .55, .60, all the way to .75, although that much is not usually advised)
Crush the ped, but I usually reserve this for bringing the black back down when using a filter like promist

Be careful of crushing the ped, especiually without a waveform to monitor, as you’ll get super blacks that can never be recovered.

JS

[John Sharaf]

Loading scene files alone will not match cameras! Matching cameras is an engineering procedure requiring a chart, test set and an engineer. Even with digital processing cameras are still analog devices and start off with different “baselines”. Loading files may get you close, but it is really the skill of an engineer, controller or technician that makes the best match.

JS