Rmherd
Forum Replies Created
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I was in a similar position in March of last year and purchased the ag-hvx200, p2 store, 2 4GB p2 cards, sticks, matte box, ND filter, warming filter, Polarizer, flourescent filter, and a simple arri kit. I received the camera in late June. I’ve shot a couple of music videos, and a bunch of golf. My workflow does not require tape; in fact, I loathe tape. My next purchase will be a 35mm lens adapter (like redrock). I admit I was apprehensive about the 1/3″ CCDs but here I am a year later, and that has never been a concern. Altogether I spent about $20,000
RH
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i just read up on cinema tools! Thanks for the creative spark. I am in a similar boat since much of my footage is a hodgepodge going back several years, including miniDV, DVCPRO HD, Kodak 5218 transferred to Beta. Apple is pitching cinema tools as a “film out” product, but I think you’re onto something. Thanks again.
RH
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You asked, “Why does it have the P2 on it? What are the benefits of P2?”
The answer is latency. That is, you can immediately use the data (or really close to immediately, anyway). Other formats require saving the signal to tape, and then the editor needs a capture card. There’s much technical information available on line, but I’ve found that people don’t really care about that; they just want pretty pictures. And the hvx200 takes pretty pictures.
RH
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Do you plan to use the DVC80 for capture? Maybe you can convince your purchasing manager to acquire some more advanced equipment in order to benefit all the resolution available on the camera.
RH
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It’s compressed to 8 bit linear. The “linear” part is the issue with regard to data compression and the data tables.
https://www.digitalpreservation.gov/formats/fdd/fdd000013.shtml
compared with
https://www.digitalpreservation.gov/formats/fdd/fdd000178.shtmlThe dilemma is setting the white point and black point, the differential equation that determines how color is resolved. Personally, I am massively impressed with the ag-hvx200’s ability to mix color temperature. A warming filter and polarizer are good purchases also (since you don’t need the extra drive).
Moreover, this camera will force your production to be like film production (beyond run and gun) because your takes are limited to small loads.
RH
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the ag-hvx200 is a smart purchase. You’re wise to avoid miniDV, and also save some space on your p2s for 60fps because the slow motion is really good. Obviously you don’t want every shot in slow mo, but for those important emotional bits, it’s a fine effect.
RH
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Thanks for the advice. Good idea.
I’m reviewing footage right now. It’s sweet. What a cool camera. I set it to manual, pushed the auto focus trigger, looked at the read out in feet and inches, then measured to the seam between the lens and body area. They were within fractions, too small to matter, so I pushed focus assist, and it was clear also.
I’m happy.
RH
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I watched the show. Those were some great performances. I couldn’t tell the difference between the s16 and P2, but I have a caveat: my cable company doesn’t offer HD. I live in the boondocks of South Lake Tahoe.
I do however have a question: how do you organize your P2 cards, the footage, and the notes from the script supervisor? Literally, who do you give your P2 cards to when they’re full? What does he/she do with them? (Do you color correct then or later or at all?) Then where do those files go to integrate into the s16? Regarding s16, what is your transfer method? For example, do you convert film to DPX_2 or some other format?
Basically, I was hoping for a literal breakdown of the process, including meta data and script supervisor notes, as well as creative/emotional influence on your decisions.
Thanks a million!
RH
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Uprezzing, not file format conversion. That’s a huge difference. I assume the OP doesn’t have the budget of those movies being cited. The reason to change from MXF to DPX is for the DI. That’s where you incur massive cost.
RH