[Pierre]

Also, in order to get the correct 23.98 cadence is it necessary to capture this 24P/a footage via firewire?
It would be great if we could capture it as HD (or “uprezz” ) and do the advanced pulldown simultaneously.

[Pierre]

Got it! Worked perfectly.
Thank you very much.

[Pierre]

Thanks Jan.

yeah I found those scene files earlier today. We’re going to try a couple out as our base look and then salt to taste from there.

One more question since you’re here…. We’re shooting multiple cameras. Four HPX2000’s and MAYBE one HPX500. The producers are wanting to save money which is why we might not add another 2000.

My question is: in terms of dynamic range how do the two cameras compare. I have read that the 500 is about 10 stops. What about the HPX2000? You mentioned 11 stops.

If set up properly will these two cameras match? (both shooting DVCPRO 720P/N).

[Pierre]

Can you tell me more about your experience with DRS and noise. What were your shooting conditions?
Panasonic is making quite a bid deal out of DRS… I figured it was worth checking out.

Based on some down and dirty preliminary tests today I can’t tell if I like DRS or not. As far as I can tell it makes the whole shot a little milky. I certainly see more detail come out in the shadow when DRS is activated, but then I immediately want to drop the master pedestal to make the black shadows darker. When I drop the master pedestal most of the highlights are still preserved from DRS (which is good) but I’m not sure if the overall look of DRS is pleasing to me. I’m waiting for a CRT monitor so I can take a closer look.

Regarding the noise:
I’m going to have a ton of light (Wide Exterior daytime landscapes)… so I’m figuring that with all that light there will be less noise (even with DRS on). Also, we’re shooting 720P (not 1080P) and I was under the impression that less noise would be visible at a lower resolution.

[Pierre]

I agree.
We’ve got an Arri Matte Box /follow focus and a full set of filters.

I’m just looking to get the best out of the camera in terms of the gamma settings, DRS and colors as well.

[Pierre]

Thanks guys. I appreciate it.
: )

[Pierre]

David,

this sounds great.

I wonder… is it possible to “network” the esata drives together somehow ?
Or perhaps have a third drive that is shared by both esata drives so that once the footage is captured it can be copied over to the drive which will be used as the capture scratch in FCP for editing. does that make sense ?

[Pierre]

Thanks Ramona.

I appreciate the levity and your explanation.

The first time Bob Zelin bit my head off I must admit it threw me a little, now I just get a good laugh out of it. He’s warm underneath his hard armor (I think) ; ).

I wish I had a tee-shirt with a picture of bob and his crazy hair with those two birds perched on either finger…. the caption would read:

“Zelin for president”.

you seen the picture? – It’s on his creative cow bio page. He looks a little like Roger Daltery

: )

[Pierre]

Ok I think I got it.

Firewire = Data (small pipe)

vs.

HD-SDI = Video (large pipe)

How then, does “Big Mug” do it ? Because unless I’m reading it wrong they’re claiming that they can capture and monitor DVCProHD via firewire… and more than one stream at that.

[Pierre]

sorry, I’m not kidding. Just curious and I guess I don’t fully understand what the difference is. I’m learning, and admit that I’m not always aware of what I don’t even know.
Please go easy.

DVCPROHD is DVCPROHD, 100 mbps. data right?

I don’t understand why it would be any different to capture two streams of DVCPRO-HD (or what ever flavor) direct to disk via firewire vs. HD-SDI. If this software https://www.bigmugsoftware.com/capture/ can do it with firewire (small bandwidth capability in comparison to HD-SDI) than why can’t Final Cut with Kona/HDSDI ?

There is something I’m missing.

Thanks : )