John Sharaf
Forum Replies Created
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My bad, it comes out the SD/SDI spigot.
JS
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Matt,
If it’s like trhe 1200A, which I believe it is, the downconverted output comes out the SD spigot; assignable as SDI or NTSC.
JS
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Steve,
Yeah, I’m a big cycling fan so I was really happy to get the call to work on that show.
I shot a couple of the interviews and was the DIT on the Russian Arm shoot, which also was quite a treat. We used one of my Varicams and I had to disassemble my engineering rack and move my Evertz frameset into the cameracar to downconvert and feed the six SD monitors which were installed there. The extra power required that we strap a small generator onto the roof as the inverter that they normally used was overloaded. i used the EC3 to ride the iris and a Preston FIZ to focus while the operator used a joy stuck to pan, tilt and yaw and another operator controlled the arm remotely from the back of the Mercedes SUV. All together there were six of us in the car. I used a Panasonic 8.4″ HD LCD for focus and the waveform function to monitor exposure.
The Russian arm is very dangerous and in fact the lens did rub up against a bridge abutment and was slightly damaged. The company was was quite honorable about paying for the repair at Canon, and it was fortunate that I had a spare 11x with me.
I thought the show cam out pretty nice and of course Lance weent on to win the Tour again shortly thereafter!
JS
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Thanks for that information. This is the beauty of the Cow!
JS
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Mariusz,
Alright, you’ve piqued my interest, what are you talking about?
JS
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Yes, your instinct is correct; always use the “half” or 180 degree shutter (at least) at 30 fps or else you’ll have too much motion blur per frame with shutter off (1/30th of a second). With video you should consider 1/60th of a second a minimum or default speed (or 1/48th at 24 fps).
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Brian,
Set the frame rate (Main Menu Pg2) at 60, shutter at 180 degrees to shoot maximum slow mo rate and use hardware FRC or FCP software FRC plugin to convert back to 24p project. This will match the slo-mo fx you’re getting on the HVX200.
JS
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Dale,
Yeah, I’ve fixed the control cable on the monitor once, although it only cost me $200. The repair came with a reinforced heat shrink that does seem to have rugidized it a bit. I’ve put a note on the case advising the user to disconnect the cable before packing/shipping; this seems to have helped too.
JS
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Dale,
I know what you’re talking about. I too have had issues in the past with Panasonic service, but after much complaining, I can report that they seem to be trying harder, but obviously not in your case. When in doubt, I suggest you “big foot” the service or parts department and contact Steve or Jeff directly for help. I know your camera is not in warrentee anymore, but if it was the delay would qualify you for a loaner I’m sure.
In comparison with the service we used to get at Ikegami, it’s night and day! I think part of the problem is that the success of the Varicam has overwealmed the capacity of the service and parts department who never really had to deal with such a large owner operator base that required the type of prompt attentive service as we do.
I can only hope that you get you parts soon and the camera gets back to work for you. Let me know if I can help you with a rental!
Regards,
JS
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Kash,
Perhaps I’m way offbase, but the tone of your question indicates to me that you’re not that familiar with the complexities of shooting high-end day exteriors. If this is the case, I’d recommend that you hire an experienced gaffer and his crew. The fact is that controlling the sun (with overhead sets), then building up key lighting of sufficient intensity and quality with large HMI units requires a lot of gear, a lot of crew and a lot of experience. At the least you’ll require a generator and cable and distro suitable for the large lights involved. In addition you must scout the locations in order to anticipate the direction of the sunlight and its arc through the hours you’ll be shooting.
I hope this helps!
JS