John Sharaf
Forum Replies Created
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Chris,
I’m not so sure you’re correct in your assertion that the two models “see color differently” as I have had gear success in matching my F and H in a traditional manner, with DSC Chroma du Monde chart and a HDSDI waveform/vectorscope as viewed on an HD master monitor.
JS
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Dale,
The note that I published earlier in this thread dealt exclusively with system frequency, frame rate and shutter speed. Obviously the next most important discussion is aspect ratio.
This is a little simpler, because it should be fairly apparent to the cameraperson what to do by asking a single question (presuming the shoot is for broadcast or display on video screen as opposed to exclusively for film output and theatrical exhibition); one should innocently ask, “will you be letterboxing or side cuting?”. If the answer is letterbox, knock yourself out with exquisite 16×9 frameing, if they are sidecuting (i.e. showing the 4×3 center of the picture) then you must “protect” both frameings, which is what you must also do if they don’t know and/or can’t say with authority.
Until such time as all the square TV’s that are in use today disapear, we must seriously think about always protecting the 4×3 picture, I know it’s no fun and often a compromise but that’s the cold hard facts. Only when there is an assurance from up high that the final project will be letterboxed can we relax our vigilance.
The issue is that if the project is really for HD broadcast, the network will only show it in one form; if they’re a conventional broadcaster, the HD broadcast will be widescreen and the SD broadcast will be center cut (4×3). They neither have the facilities or intention of sending out two versions (HD & Letterboxed SD). Now if they’re a cable network, they just might have both an HD and an SD channel (like HBO, Food Network, Discovery and many others). In this case it is possible that the SD version will be letterboxed to preserve the intentions of the director and cinematographers…or not!
OK, so we’ve dealt with systems freq, frame rate, shutter and aspect ratio, what other questions should you ask your new HD clients?
For me, because I have both Sony HDCAM Cine Alta and the Panasonic Varicam cameras, the first question I usually ask new clients is what editing platform do they favor, own or use? This question is to cut to the chase as regards post production workflow complexities. If they answer “FCP” then I know that the Varicam is the most appropriate camera choice, unless of course their sole intention is film out for the cinema, in which case the 1080 HDCAM format might be a better choice. Not necessarily, but a full-on beginning-to-end test should be considered and critcally judged by observation on a big screen. Some types of movies will work with the grittier look of 720 others require the extra little bit of sharpness of 1080; it is both a technical and an asthetic choice.
The fact is that the Sony format ends up being much more expensive; the camera costs more, rents for more, the tape stock is more, the storage requirements are more, it is less practical to edit in the native codec, etc.
Of course if they say they edit with Avids then the complexities are exponential. Because Avid is not DVCPRO100 native capable, nor does it support the Firewire workflow like FCP, the master footage must be downconverted, the editing must be done on an off-line basis and then an expensive on-line session is required to complete the project. This decision, which is often driven by what platform a favored editor is comfortable with, or by what editing system the company already owns is often illogically made despite economic imperatives that would seem to dictate another workflow(namely Varicam, DVCPRO100, Firewire and FCP).
This is the most difficult area of the HD discussion for the cameraperson to breach, because it has not traditionally been within our pervue, yet we are often the ones who have more knowledge and experience in this area, often more than the favored editor, who might be dealing with HD for the first time.
I had a case just this last week, where a four camera shoot that should have gone Varicam because of all the economic considerations mentioned above (it’s for DVD release) went Sony HDCAM, because I think the editor owns a HDCAM VTR and wanted the rental! This is what I mean as regards logic; sometimes the producers, who are new to High Def can easily be snookered by folks that they have trusted in the past. As camera owner/operators often we want to “sell” the format own, but we must be sensative to a whole variety of issues, but between you and me, at this point in time, the Varicam is still the best, smartest, most economical and user friendly solution there is. That is until we go to NAB in a couple of weeks!
JS
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Walken,
The Fabric grids are much better for news and doc work, as the honeycombs are fragile and require a case as large as they are and become cumbersome and bulky to store and transport.
As regards your choice of instrument wattage, you’ve got to know that if you intend to use a light with a chimera, that the chimera really sucks up the output such that they are really best with HMI’s and larger tungsten units (preferably open face like 1K or 2K). This relegates the 300 and 650’s to use without the chimera and as backlites or hard light key in dark interiors or night work.
JS
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Vincent,
Honeycombs and folding grids are very valuable and functional accessories for Chimeras of all sizes. Both come in various “degree” designations indicating how directional or wide the controlled spead is.
The honeycombs are quite fragile and heavy in the large sizes, requiring a wooden box to protect them and sometimes even an additional stand for support so they don’t sag. These units are therefore especially appropriate for productions where you have large trucks and crew.
My preferance is the collapsible type which attach by velcro to the front of the Chimera, and yes they are very useful in controlling the spill off of walls, etc. and making the light source more directional. I use them in key lites, fill lites and backlites for that purpose when I seek a more contrasty or low-key look.
Chimeras and these types of accessories are very elegent solutions to minimizing or eliminating extra stands from the set that would otherwise be used to hold diffussion and flags. When they first came out the grips hated them, thinking that they would infringe on their traditional domain in setting flags and diffussion, but like all good things, they are now almost universally appreciated.
JS
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My thought is that the VTRs will still have value in a P2 world; especially to archive finished shows and other valuable master materials. In the meantime the 1400 has some real cool features such as insets and assemble and built in Cine Gamma Correction that motivate the 1200A’s replacement.
JS
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I’ve seen this on ocassion as well, and can’t really say what the cause is. At the least I would think it indicates that you’re due for a tape head cleaning or service to replace the cleaning rollers in the recorder.
These types of intermittent, unexplained problems are the worst, and cause you to mistrust your gear which can be nerve wracking so it is in your best interest to track down the problem, if it persists service is definately in order, even though there’s always the chance that the problem will not be recreated in the shop, at least you’ll get a thorough cleaning.
JS
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John,
The advantage is having predictable steps of highlight compression, from 200-500 setting of Dynamic range. Crushing the Gamma from the default .45 to .55 or even .65 restores the blacks for a wysiwug look. This is not necessarily what the cameras designers had in mind, but it’s a very powerful feature. The alternative is to make knee point and slope adjustments in the field, which is not really practical in an ENG environment.
JS
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Rasmus,
I highly recommend the K5600 “joker” line of HMI’s; they have two 400w models, the Joker Bug which is both a PAR type unit and a bare bulb (especially suitable for Chimeras) and the Black Jack which is a Fresnel type. They’ll cost about the $5K you mentioned for the Dedo. Do yourself a favor and check them out before you spend that kind of money!
JS
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Brad,
I was able to get one pretty quick from Abel Cine in NYC. Ask for Milton Brinkley and mention my name.
John Sharaf
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If it’s a US camera it’ll be 59.94 systems frequency, so when you set 30 fps the “real” speed is 29.97. As far as DF or NDF, both are possible, check with client for their preferance. If for broadcast, it’s usually DF so that the TC equals the screen time. Your confussion probably stems from the fact tyhae at 24fops there is no DF only NDF by default.
JS