Patrick Fries
Forum Replies Created
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Hi Oliver,
Oddly yes, it happens on the back up as well. But if we copy a project file over to another drive, it seems to open just fine so we’re considering copying all of the assets of the main drives over to a new back up and then re-formatting the Lacie drives and start over. Thanks for the insight,
P
Patrick Fries
Director/DP
Arrowhead Films
Austin, Texas 512-302-1100 -
I’ve shot hundreds of hours with both mounts and hand held. One thing you might consider is getting a GoPro and just strap on the skids, which worked for me a couple of times. You have to tell the pilot to go tree top at 40-50 knots.
Also, the 170 works great hand held if you ask the pilot to jump up to 2500 feet and then fall back down. That reduces the vibration considerably and gives you the look of a hot air balloon.
Patrick Fries
Patrick Fries
Director/DP
Arrowhead Films
Austin, Texas 512-302-1100 -
I wonder if the 250 will be considered an HD rated camera by the broadcasters. The two 170’s that I have are great, but considered SD cameras by Discovery et all.
I wonder if there’s any chance that there would be some available by late May?
Patrick Fries
Director/DP
Arrowhead Films
Austin, Texas 512-302-1100 -
Thanks Dan,
I’ll look around to see if I can find some video samples of what it looks like.
PF
Patrick Fries
Director/DP
Arrowhead Films
Austin, Texas 512-302-1100 -
I have to confess that we haven’t yet addressed the unislot issue with our 900, but you’ve inspired me to consider it.
I haven’t seen this slot before and am curious about the power drain with the mic system in place. Can you help with some info on that? Also, where did you find the best deal on your Senheiser?
Muchas Gracias
Patrick Fries
Director/DP
Arrowhead Films
Austin, Texas 512-302-1100 -
Thanks so much for that information. All my years behind the camera and I never came across that. Still learning. We just got our 900 today and we have the Cannon super wide lens, which is scarey because it’s such an incredible piece of glass. I can’t wait to see what it can do. We have a Tyler nose mount shoot next week to break it in.
PF
Patrick Fries
Director/DP
Arrowhead Films
Austin, Texas 512-302-1100 -
I’m not completely sure I know what breathing is when related to the lens, can someone explain por favor?
Does that mean that it rolls thru the crisp focus point?
Thanks
Patrick Fries
Director/DP
Arrowhead Films
Austin, Texas 512-302-1100 -
I think you have to have a business plan to support this camera and separate the rental issue. If you’re like most production outfits, you use the camera for your own projects and every once in a while you get a call for a specific camera. For us, we’ve been waiting for the right time to convert our operation to HD and we used the HDX900, the 1400 deck and the Cannon HJ 11 x 4.7 Super Wide lens. We demo’d the Fuji that comes with the package and it looked and felt like a toy and I figured we could either pay now or pay later, so we jumped off the package. I think the Fuji is actually last years glass and they re-packaged it to make a price point that converts like us could afford.
As I mentioned in an earlier post, we have four edit suites and now have the 900 and 200(P2) as our main cameras. We kept our A500 Digibeta since a lot of our old source material is on that.
Hope that helps.
Patrick Fries
Arrowhead Films, AustinPatrick Fries
Director/DP
Arrowhead Films
Austin, Texas 512-302-1100 -
We looked at buying a used Varicam but I couldn’t seem to get past the many features that the 900 has that the Varicam does not. I think you’ll find lots of Varicam owners losing rental ground to cameras like the 900 and whatever Sony has in store. I agree that the rental might be 600-700 a day, but that is a heck of a lot more than a Betacam rig which can be found for about 300 a day in cities like Austin, Texas. We’ve got our 900 paired up with a nice Cannnon wide angle which should bring a nice price on the market.
Pat Fries
Patrick Fries
Director/DP
Arrowhead Films
Austin, Texas 512-302-1100