[Michael Palmer]

Every wedding location is different and prescribing a light is difficult.

Adding light is definitely going to help this little sensor in the HV20.

Here is just one solution that is affordable and durable.
PAR cans (rock n roll lights) can offer you the power may need and can be dimmed down with inline dimmers. I would recommend PAR 64 par cans with medium (1000 or 500 watt) beam globes. You will want to make sure you also purchase the Gel Frame if sold separately for adding diffusion/color correction and a Bail Block to attach to a light stand. You must be aware that if you choose the 1000 watt globes they will take 8.3 amps of power and you will need to find dedicated outlets for running 2 of these units, assuming the facility is using 20 amp breakers. You can build your own dimmers with rated 1000 watt wall dimmers and placing them inside a nice single gang box that is properly ground. I would recommend some half CTB (color corrective blue) gel to use with day light balanced rooms and some lighter Lee 251, 250 soft frost diffusion when you need to soften the source light. I would recommend some triple rizer steel American stands with at least 1-20 pound sand bag for each light to safety the light stand to the ground in case someone trips over it.

https://www.prolightingsupplies.com/parcans.htm
https://www.americangrip.com/baby.asp
https://www.americangrip.com/sandbag.asp

This is just one possibility to help you get the light you need.

Good Luck
Michael Palmer

[Michael Palmer]

I would use the AJA I/O and attempt to record as Pro Rez, I would also record natively on the camera for backup. Not sure you can get away with recording the higher level (220 Mbps) PR but the lower 145 Mbps PR is a great workflow, and the native EX35 Mbps also keys very well too.

Good Luck
Michael Palmer

[Michael Palmer]

The SxS cards work from the Express 34 bus and the SDHC cards work from USB technology. So yes the SxS is way faster technology. Plus as Craig has said many times here that Sony limits the USB controller so you can’t take full advantage of the USB data transfer capabilities.

Good Luck
Michael Palmer

[Michael Palmer]

I’m not Craig but the rule is that you must give the camera buffer time to complete the recording to the SDHC card before continuing the next clip. Just because you pressed the stop button and the Tally light goes off doesn’t mean the camera isn’t still working sending the data to the SDHC card. If you look at the card slot light it will remain RED up to 10 seconds, you must wait until it turns Green to continue or to remove the card.

Good Luck
Michael Palmer

[Michael Palmer]

Bob,
I took the $70 gamble (Transcend 16 gig SDHC class 6 card/MxR adapter) and tested it for a few cycles and I completely trust that it is a viable alternative to the pricey SxS cards. At a tenth of the cost it works for me.

Good Luck
Michael Palmer

[Michael Palmer]

I use these Sennheiser Evolution G2 100 ENG combo Stick/Lav and for the most part they get the job done. Far from the best, but affordable.
https://www.bhphotovideo.com/c/product/424665-REG/Sennheiser__Evolution_G2_100_Series.html

I do like the dual receiver idea, one piece of equipment to hang off the camera instead of two.
https://www.bhphotovideo.com/c/product/564558-REG/Azden_325ULT_325ULT_Dual_Channel_Portable_Wireless.html

Good Luck
Michael Palmer

[Michael Palmer]

I just want to point out that if the lock is LOCKED on the SDHC card then it can’t be restored. You must allow the card to be written to to restore the media.

Restoring the media is safe, it won’t erase any of the clips.

I make a habit of locking my cards when I remove them from the camera/adapter.

Good Luck
Michael Palmer

[Michael Palmer]

The Matrox MXO2 is a terrific up-down and cross converter but I believe you will need to control it with your MBP. What I love about the MXO2 is that it doesn’t just work with a laptop, it is a solid I/O solution for the dedicated edit bay as well, it comes with a PCIe interface card that drops into a Mac Pro.
I believe the next version will also include an Mpeg-4 encoder, …………very cool!!!

Good Luck
Michael Palmer

[Michael Palmer]

Sorry Joe, I honestly missed your last sentence. I don’t think you will be disappointed with component, however one single cable is much easier to run.

Good Luck
Michael Palmer

[Michael Palmer]

The first thing to do is to learn the proper workflow and how to properly handle the cards and the raw EX main BPAV folder. This main folder (BPAV) needs to be copied to a parent folder with a naming convention similar to how you named the HDV tapes so you can archive them. Depending on the NLE you will convert these raw master files to work with your edit system. Now you have 2 sets of the same footage to store and every leader here (including myself) will tell you to archive the original master BPAV folder that you have carefully placed inside the parent folder. Sony was a software called Clip Browser and it can verify the that the files have been copied exactly the same as recorded to the cards. I must admit I just drag and drop onto 2 separate drive and check to see if the file size matches, and forgo the CRC verification process. The most important rule is to save to 2 separate drives as quickly as possible and try to avoid formating the cards in the field if at all possible as human error is the only issue with tapeless systems.

Good Luck
Michael Palmer