[Mark Wagoner]

If you do not have the time or budget to remove the glass, here are a few thoughts. A polarizer seems like a good idea until you find out the with some glass, like car glass it will make other things show up in the glass. Like plastics or pressure, or coatings in the glass itself. Test first, may help or cause more problems. Remember the rule or reflections, Angle of Incidence equals and Angle of reflectance. Keep the lights off axis with lens, I think some moving reflections will help you sell the shot. Mount the camera in places where you would mount it for a moving car shot, this will help the viewer understand and suspend. If you shoot with a long lens from across the studio it will be harder to visually understand the shot. The viewer has preconceptions of what a moving car shot will look like, use that.

Good Luck
Mark Wagoner

[Mark Wagoner]

I shoot a lot of food, most of the time we use back lighting with sort light and sometimes add a harder side light for sparkle.I like to use broken mirrors for the harder light. Fill cards from the front so it does not look over lit then let the highlights go light on the top of the food. The tables look better with a little longer lens and shallow DOF, maybe 85mm to 100mm. You can see some stills that we also do at markwagoner.com, look at portfolios, food. I use the same techniques for motion. I like lower angles, and close on the food. If you are shooting hot food the steam will show nice, if you need use steam chips.
Good Luck,
Mark

[Mark Wagoner]

Again a independent production company here. We have an HVX200 and HPX500, we also shoot with the Varicam some. I hand drives to clients as part of our workflow all the time now, after they get into the flow they are very happy with this. The thing that works out great is that we have a copy from the camera of everything we shoot, so we update our samples right away, some times the next day. No more hand a tape to someone and never see the footage again.

The work flow on a shoot takes focus, you must set time aside to download cards or have someone set up with a copy station that you trust to copy the cards to one or two drives. If we are not editing the job we will use two (most of the time we use two anyway) and at the end of the day hand one of the drives to the client. We use a small 80 or 160 gig drive and bill it as part of the job.

I am also a still photographer and our studio was already use to handling digital files and had a strong workflow in place. You must have a method and follow it , you will lose something if you don’t.

I think what drives us to shoot different cameras has more to do with the look of the image. Just as the HVX200 image looks different from the HPX500, the Varicam has a different look. That is how we decide about if we need to rent something.

That being said I do not want to go back to tape as our main capture method, the P2 workflow is great for our company and most of our clients.

Mark