Rennie Klymyk
Forum Replies Created
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get 2 identical knives. On knife #2 you epoxy a fine tube from the tip along the back side of the blade and up the handle and beyond if necessary. Attach a bag to the end and fill with blood although a wider tube or hose would work too. Use knife #1 for all shots but the close up. When shooting the close up have some one stand out of frame and squeeze or blow through the tube to force the “blood” out. It may work with just gravity, depends on the thickness of the tube and your angles.
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow
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Aside from darkening the theater or adjusting the brightnes, contrast, chroma and phase adjustments (which may be called tint and colour) in the projector menu, you are hooped. I’d dig around a bit harder locally, it’s hard to believe a stronger projector is not available in this day and age. Try large hotels or conference centers or another theater. There are adapters/converters to go to/from analog component to HDSDI and HDMI also.
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow
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Multistream is how FCP edits multi camera shoots (splits the canvas into up to 16 windows and displays up to 16 tracks at a time in motion so you can edit on the fly. So they are saying the drive can handle SD multi stream (but they don’t say how many)
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow
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If I were purchasing this level of storage today I’d go for a sata connection and a unit that has bays that accept bare hard drives (like the Dobro does). Unfortunately the Dobro is firewire interface and it automatically adds any new drive you put in, into the raid system. Other systems like my old Firmtek allow you to configure the drives as you see fit. I have specific drives for specific clients and I swap them when I’m doing work for those clients. So of the 4 drives it holds I can set up 2 or 3 drives to be raided and one for what ever. I do many different tasks with my computer so I like being able to keep certain things on specific drives. Since I already have my edit media needs adequately looked after I would consider a Dobro as they would be handy for timemachine and other desk top stuff but for external media storage a system that takes bare HDDs without a sled or adapter and interfaces via sata is available for the same cost. My older Firmtek requires sleds or adapters to enable you to slide the drives into the unit. I have 8 sleds but wish I had 16. The new ones that don’t require these sleds/adapters are a nice improvement.
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow
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The Dobro looks useful for an office environment but what got me is how each new drive automatically becomes part of your raid. With internal drives or other esata external solutions you can choose how the drives are set up. My firmtek externals allow setting 2 or 3 drives in a raid configuration and keeping one or 2 set up as jbod which is versatile if you use you computer for multi tasking or keep certain drives for certain clients on going projects. I really like the systems that like the Dobro allow bare hard drives to be slid into the unit unlike the older systems that require a caddy or sled that you screw your HDD to and then slide the caddy into the box. Sleds are only $20.00 – $30.00 but the cost adds up once you have them sitting on the shelf and the time to install the drives or de-install into the caddys adds up. I’ll want the new style that takes bare hard drives for my next set up.
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow
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The Pal version of the HVX200 uses 25PN and the NTSC version uses 24PN. You don’t get 24PN on your camera and we don’t get 25PN on ours.
Don’t feel bad though, we’ve been living with 30 frames a second for decades and you’ve had 25 fps, just one frame off from the popular 24fps film speed. Just use 25pn and be happy.
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow
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It’s always good to see a user of a system chime in in support of a piece of gear, way to go Christopher! I was “dissing” the firestore on an earlier thread and you chimed in in support of them there too and I felt I should have responded back saying I’ve never used one. When something does the job you bought it for and works for you that’s a good thing. Thank you for your voice from experience.
I admit I’ve never used one but it’s the extra bulk and tethering of cables that scares me about the technology. I have such a phobia against hardware like that as opposed to a small card that fits inside the camera the choice is a no brainer for me. When you add that to other necessities often needed like a wireless mic, a DOF adapter, a matte box, an AC power supply, an audio feed, on board light, etc. the camera starts looking like an octopus. One day someone’s going to go to a venue and find the camera guy from the last event hanging off the side of a tripod, entangled in a web of cabling, and dead from strangulation or starvation. I’ll take the cards inside the camera anytime.
When P2 cards were only 4GB I would have considered the Firestore much more seriously. Today my criteria would be:
#1- bulk and tethering VS small card inside the camera
#2- cost per GB of storage
#3- extra desire-ables like spare batteries, chargers, mounts etc.With 64 and 128 GB cards on the horizon the argument for P2 only gets stronger however if you only use the firestore for longform locked down shooting like Michael asked about I’ll agree, they are and always will be a viable alternative for data capture.
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow
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Why not have your friend shoot a couple of 10 second clips, maybe one with fast action and one with a pan and then email them to you. You could try Michael’s recommendation and test the results yourself before committing a whole music video to this workflow.
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow
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Hey! I just saw this camera on ebay and thought I’d toss it out here.
Check this guys description out:
Seems he was recording a live event with some laser lights in the show and his ccd got fried. I know there are 3 levels of lasers and only certain ones are recommended for around humans so you’d think any lasers being used for a light show at an event would be of the recommended type and not that powerful, (never read anything about spectators at an event being blinded lately). Anyway if this guy’s presumptions are correct, a low level laser safe enough for humans’ eyes has fried a few pixels on his ccd’s.
The old tube cameras used to “come back” if there was any burn in from a strong light source by aiming it at a white subject for a while although I’m sure they could be fried easily enough under these circumstances too. It seems ccd’s can burn out their pixels completely.
I’m not up on how the whitecutter works but this was my thinking, just a spear of light comes in from left center field and it’s not spread out enough to effect the overall “average” exposure and shut any thing down. In the way this guy’s laser just fell on a few pixels out of the whole scene being recorded on the ccd’s, your strobe although not as concentrated or powerful was still enough to frazzle the ccd’s a bit but thankfully only temporarily. Whether this is actually frying the ccd’s or more likely just overloading the DSP circuits that represent the effected pixels is a mystery to me. At any rate there does seem to be a threshold on how sharp and how bright a beam of light can be before it creates havoc with a ccd and the underlying DSP that translates and carries the image afterward.
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow
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Use the lav on one discrete channel and record ambient sound with the other channel using the internal mic. You can select just the lav when editing but you will have backup from the built in mic which can help cover up the rustling of clothing against the mic or wire or any other problem which can occur when recording sound.
Use CH1 SELECT in the middle position (Input 1-) and connect the lav to the top (CH 1) xlr.
Use CH2 SELECT in the top position to record from the internal mic onto channel 2.
It never hurts to have extra audio tracks which can sure come in handy in the event of a problem.
By moving the CH1 SELECT and the CH2 SELECT switches off the top INT (L) and INT (R) positions you cut off the internal mic and record from the xlr inputs on the front of the camera. If nothing is plugged into them you will get nothing.
You can plug the lav into the bottom (CH 2) xlr and set CH1 SELECT in it’s lower position (Input 2-) and also set CH2 SELECT in it’s lower position (Input 2) and that way get your lav on both channels 1&2 but that is putting all your eggs in one basket. You are always better to record optional sound tracks just for backup.
The best scenario would be to use the lav on CH1 and also a short shotgun aimed at the speaker for CH2 as backup. If you don’t have a short shotgun the internal mic is already there, takes no effort and is better than nothing for your backup.
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow