[Ken Zukin]

Funny you should be looking at this – I’m doing a ride-a-long tomorrow night with local cops re: Student Drinking.
I also have an SDX900 which I’ll be using – bulk and all – because of it’s flexability. I have a DVX100 too, and would love to use it, but the iris ring – or lack thereof – makes it too slow to react to changing lighting situations.
The SDX900 is obviously heavier and larger than the little DV camera, but it (SDX900) is much lighter that a similarily rigged betacam. The lenses on the little cameras leave a lot to be desired as well. The zoom servos are neither smooth nor quick enough, and the little cameras can’t handle low light situations or high contrast situations.
For me, in the final analysis, it’s about the images – and there’s no way those little cameras can compete: one looks broadcast, the other industrial.
Good luck with your project,
Ken

[Ken Zukin]

Just to follow up on James’ guestion, which I think is a good one – Is there much of a difference in terms of quality of light (softness) in using a large HMI thru a couple layers of diffusion vs. a Kino type fixture?

BTW, I’ve owned a Biax 400 for about a year and it’s been nothing but a positive experience.

[Ken Zukin]

Bottom line: Ty is using the website to try to generate some income. Probably not illegal, but IMO, it goes against the grain of what we’re tying to accomplish here (a free and open exchange of ideas and experience).
Best,
Ken

[Ken Zukin]

Pluses: Soft, even, flattering light & daylight balanced.
Minuses: Not powerful enough, even weaker when gelled for tungsten, overpriced.
It’s a new technology and Lite Panels may be the first offering. I’d wait till something better comes down the pike.
Ken

[Ken Zukin]

Hey Kevin,

You sound like you’re on the right track. I’d use soft light on their faces, and try to make their faces slightly brighter than anything else in the frame. You said they would be walking thru the newsroom, doing “anchor stuff.” Not sure what you mean, but if they’re walking and talking, you might want to consider a dolly shot to follow the action. Maybe you could set a soft key on your dolly – to one side or the other. I’d use the existing overheads. And of course if the lighting in the foreground is brighter, the white walls in the backround won’t stand out so brightly. And I’d try to get a lot of action/movement behind them to make it look like a “working newsroom.” Your job is to showcase the talent – make the lighting as flattering as possible – but not too dramatic as most tv lighting isn’t real “high key.” You will need a bunch of lights to do it right. You might want to consider doing some testing with stand-ins before you actually shoot with the anchors just to get everything dialed in.

Good luck,

Ken