[Leo Ticheli]

What do you mean by, “The AJ-HD150 does not support the Varicam and 24p however.”

We use the 150 daily with VariCam material shot at 24p and have been doing so for years. It’s actually a fabulous machine, a full editing deck.

Best regards,
Leo

Director/Cinematographer

Southeast USA

[Leo Ticheli]

If you get down this way, the barbecue is on me! We’ve got a place called, “Dreamland,” that will knock your hat in the creek…

Best regards,
Leo

[Leo Ticheli]

Hi John,
I’m certainly no lawyer and can only offer what I’ve learned that seems to be, “customary and standard,” as they say. Glad to know how things are done in the north as well.

I did shoot in Canada once, sort of off the books. When I entered the country, the customs official, noting that we were from the southern US, asked us, “where are your guns?” He seemed totally incredulous that we were not armed and dangerous!

We did have a great time, by the way, and found the locals a really decent bunch. Our “southern hospitality” has nothing over the Canadians.

Best regards,
Leo

Director/Cinematographer
Southeast USA

[Leo Ticheli]

Perhaps you do things differently in Canada; in my experience in the USA, the client owns the raw footage.

We are not stills photographers. Their practice of licensing the images only per specific use is not the way film and video production is done in this country.

I know of one case in my market where a production company refused to deliver the camera tapes to a client. The result was ugly, not “customary and standard,” and the production company is no longer in business.

I should think that it’s imperative to completely inform the client if it’s your business practice to retain ownership of camera original and make sure you have it in writing.

Generally, we keep the camera original, which is the client’s property, in our vault for future edits or re-purpose, but when we are just directing/shooting for a project to be edited elsewhere, we deliver the footage to the client.

Best regards,
Leo

Director/Cinematographer
Southeast USA

[Leo Ticheli]

Hi Steve,
Both sound like a good ideas; using the on-camera microphone for the interviewer’s questions and poking fun!

I’m usually so close to the subject that we can pick up the interviewer’s questions with the subject’s boom.

Good shooting, my friend!

Leo
Director/Cinematographer
Southeast USA

[Leo Ticheli]

Hi John!
Sorry I missed you at NAB, I could stay only a couple of days.

There is a new software revision for the VariCam. Promises to further clean up the blacks and allow frame rates to be stored and selected via the user buttons.

It’s something like $260.00 for cameras out of warranty, cheap. I’m book for the next couple of weeks, commercials in Florida (what a pity) and some aerials in Alabama. Death from above!

Good shooting, my friend!

Leo
Director/Cinematographer
Southeast USA

[Leo Ticheli]

Hi Steve,
The list price of the VariCam does not include a few things, even the Viewfinder. I imagine that’s so the camera can be configured for whatever use is needed, field or studio. It certainly does make the camera appear a little less expensive than it actually is.

As far as the Microphone goes, we use a Schoeps in the holder; although we use it only for capturing ambient sound, it seems to work well. I can’t imagine anyone using a camera mounted microphone on a camera like a VariCam to capture dialog.

Good shooting!

Leo
Director/Cinematographer
Southeast USA

[Leo Ticheli]

Hi Rune,
I got the same information from Jeff; definitely sounds like a worthwhile upgrade and I’ll be sending my camera in as soon as I can schedule.

Good shooting!

Leo
Director/Cinematographer
Southeast USA

[Leo Ticheli]

There is no “correct” answer; you’re talking about art. Your own preference rules.

Fortunately, you can see, in real time, the effect of all under-cranked shots on the monitor or LCD as you shoot. This is also true of over-cranking if you are not going to slow motion the footage. What you see with the VariCam is exactly what you get.

For dance, I frequently use 4 fps, but you should simply rack through the rates and use what seems right for the trail effect and tempo you want.

Good shooting!

Leo
Director/Cinematographer
Southeast USA

[Leo Ticheli]

I think what you may be looking for is, or was, the Sundicator. Sadly, the product seems to have passed away with it’s creator, Thomas Spencer.

I’ve still got mine and wouldn’t part with it. You might be able to find one somewhere; snatch it up if you do!

Good shooting!

Leo
Director/Cinematographer
Southeast USA