Rennie Klymyk
Forum Replies Created
-
I agree with everyone else so far. The firestore was viable when they first came out and P2 cards were only 4GB. Today with 32GB cards and in the future with 64 and 128GB cards announced there is no longer a need to have to put up with more external bulk to pack around and connections to worry about.
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow
-
What camera?
HVX200 is page 47 on the manual.
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow
-
Maybe the geniuses at Apple figured that if you use DVCPRO 25 they’d call it “low quality or is it called dv quality?” and DVCPRO 50 would be called “medium quality” and DVCPRO 100 is “best quality”
Maybe that’s the logic behind it.
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow
-
If the Cavision .6 wa doesn’t do this I’m getting one! The scene you pointed to has a lot of parallel lines and perhaps this aids in the effect. Any wa lens should do it but perhaps a rectilinear lens would be best. A rectilinear lens is highly corrected for zero barrel distortion from edge to edge and are made for architectural work primarily. All straight lines in a scene always remain perfectly straight.
Because of the characteristics of a wide angle lens to add space or dimension to an object and the way it usually appears more pronounced near the edges of the frame, those exaggerated dimensions must travel faster optically during pans or tilts than the center of the image and so we get this effect. Any wide angle lens should do it and the wider the better. You have the widest option available for the HVX200 (with out going to a fisheye) so you are basically at your limits. However you could use a 35mm lens add on like the red rock micro DOF converter with a lens like a 14mm nikkor to go wider with the HVX200 and not have the fisheye distortion. I think the older 14mm nikkors were rectilinear also.
I would take the cavision to a place with lots of tall buildings and try some more shots, I would think you should get the effect at least to some degree.
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow
-
[Nicolas Borrell] ” Is the blue strobe light too much for the camera chip to handle? “
It would be interesting to take a light meter reading of the blue strobe as it’s beam shoots directly at the sensor at that distance and take a look at the ev of the entire scene. Even film would choke on this scene at that moment. Lens aberrations occur under these circumstances. An apo prime would be best suited for this type scene. We’re not supposed to aim our ccd’s directly at the sun but I wonder where the cut off or break point is. The old tube cameras had troubles with street lights in night scenes so I’m not surprised if this chokes a ccd. If the blue strobe aimed directly at the lens was a constant source it would need to be shot at F22 with maximum neutral density applied.
DV compression can enter the equation too. How does it look playing straight off the camera to a good monitor? It has to produce an illegal ire value for broadcast standards and that can create havoc with sync. Where the sync issue occurs (ccd-DV compression-NLE) would be interesting to find out.
There are a lot of variables here, hopefully some techie gurus will chime in. Thanks for posting.
-
[Nate Stephens] “I would also get a Dual sata express card and esata Hard drives x 2 or more,, then you can have a mirrored raid for proper back up and some speed”
This is all great advice considering the size of project you are doing.
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow
-
[Eric Addison] “I read this in the press release for the camera and wondered if anyone knew anymore about this – native 1080p recording.”
Important things to note as I understand it are:
-the Panasonic chip is 540 pixels
-Panasonic uses CCD chips which are difficult and expensive to manufacture
-Panasonic uses spatial offset to achieve better image quality.
-On the backside of the chip is a maze of circuitry that processes the captured image of light falling on the front into a 1080p file. This Digital Signal Processing (DSP) is as important as the chips used.[Eric Addison] “how does it compare to say the EX1 or EX3?”
-the Sony chip is 1080 pixels
-Sony uses CMOS chips which are cheap to produce and easy to manufacture.
-not so much sophisticated DSP going on behind the surface or needed to create the 1080 file allowing Sony to put a lot of effort in reducing the high noise ratio inherent with CMOS chips and making them workable.It’s always difficult to compare two different things like this but it boils down to how each one works for you. How does it feel in your hands, how do you like the controls, lenses, video formats etc., how do you like the finished image on your viewing monitor and finally the price does factor in for most of us.
At the suggested price level and with all it’s features the HPX-170 will be a real contender. The EX3 is priced up there with 2/3″ chip cameras so unless you want a small form factor camera and don’t mind investing in a 1/2″ lens arsenal it is in a different bracket.
-
Seems to me the newer BT LH1760 also has a zoom feature that lets you display a section of your image at native 1920X1080 resolution, pixel for pixel which has to be nice for critical focusing. I think one of the new smaller pany monitors also has this feature. I seem to recall the 1760 has HD-SDI built in also whereas on the 1700 it was an option. I’m just going by memory here from reading the intro when the monitor was 1st released so be sure to confirm these points on the pany web site. Seems like a awesome monitor suitable for field and/or edit suite.
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow
-
[Robert Harari] “I’ll be editing a feature film that will be shot in 720p using the Panasonic Varicam.”
Your going to need to spend some serious cash. You can rent a deck to ingest the tapes when the time comes but you’ll need a storage array and something like AJA’s lo HD to ingest the footage. For monitoring most broadcast quality monitors use an HD-SDI or analog YPrPb component interface and not HDMI which is presently more of a consumer oriented interface.
If you search these forums for “editing HD” and “Monitoring HD” you’ll find lots of info. You may also want to search “varicam” to understand how it treats different frame rates and how to deal with it’s video.
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow
-
I was looking at these cards also. With more and more pro-sumer cameras in the HDV and AVCHD variety coming out with HDMI ports HDMI can be used to ingest AV for editing. However does HDMI support time-code? It seems HDMI is a derivative of DVI and was originally designed to handle video after the edit process. HD-SDI in it’s packetized streams over one wire (or 2 for dual link) is still the solution for ingesting HD for editing.
“thou can not stir a flower without crumbling a star” ……Henry Wadsworth Longfellow