Rob Bullard
Forum Replies Created
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The reason why Hollywood uses the Sony system is because Sony had the power to create the 1920X1280 24fps standard and then saturate the market with product. If Sony invented a 1080p/60fps system Hollywood would be using it. Wow a Sony Varicam!
In the recent testing that I did for a 15 million $ feature we shot 8 different formats (including HDV and Super 16) and the Varicam was chosen by the director. We did nothing to the camera other than set it to film rec and output to Arrilaser. They are shooting it on 35mm.
Rob Bullard
varicam@mac.com
401-447-0291 -
Yes, Shane that project was a nighmare for a number of reasons. If you recall the eQ was not exactly a stable platform at that time. However I seem to recall that the eQ had no troulble with DVCPROHD as a format. Am I correct that you are saying the the way the camera records timecode prevents the Avid from making a correct EDL?
As for the picture quality I truly think it is in the eye of the beholder. Recently I went through testing comparing the Varicam against the F900 for a large budget pilot. The Director and Producer chose the look of the Varicam over the F900. The Director actually said about the Varicam “Oh, I can see things outside the widows.” In the end the Executive producer had an editorial deal with Sony Pictures and we were forced to change out the entire 2 camera package a day before shooting. My point is that post efficiency is king in the production equation. You are recommending your clients to not use a format because it doesn’t fit your efficiency paradign. What are you going to do when your clients bring in green screen HDV material? I’m betting you will find a way and bill them for the results.
Rob Bullard
varicam@mac.com
401-447-0291 -
When are people going to realize that the word Avid always comes up when it comes to problems using DVCPROHD. I was just involved in a feature project where the editor was using an Avid express machine so all the Varicam footage was downconverted to DV for that system. Stupid. All the “issues” have to do with Avid. Automatic Duck anyone?
Rob Bullard
varicam@mac.com
401-447-0291 -
Wow those are valid concerns. But for the small to mid size producer it is still an amazing system. Recently I shot for a client, captured to firewire and he editied on his lap top. Is that what really concerns you?
Rob Bullard
varicam@mac.com
401-447-0291 -
Rule Broadcast in Boston, MA may be selling one. http://www.rule .com
Rob Bullard
varicam@mac.com
401-447-0291 -
I just finished a feature using the P+S Tecnics adapter hot on the heals of a shoot using Digiprimes. While the Adapter was not a disaster I do not recommend using it over Digiprimes. The first issue is with sharpness. The spinning groundglass, prisms and whatever air to glass surfaces inside it decreases image sharpness. That may not be a problem for television release but in the film out tests we screened there was a huge loss of sharpness lost through the Adapter. The second problem is that chromatic abberation is increased. The third issue was that with Zeiss Standard Speed lenses there was a noticable “portholing” of a least a stop across the field; especially with the 32mm and 24mm lenses. Super Speed lenses showed no stop changes. Overall the 35mm focal lengths and ability to control depth of field was exaclty like shooting film.
The effect works but doesn’t really improve the image. If you are going to film out you should test it.The negative shutter effect was noticed when we closed the shutter past 90 degrees. It appears as if the groung glass and shutter are in sync rendering the ground glass still. It looked as if the Adapter was not turned on.
Compared to the Digiprimes the image always looked mushy.
Rob Bullard
varicam@mac.com
401-447-0291 -
Yeah, I just finshed a pilot for Sony with 900/3’s and the color finder was a nice change of pace. The zoom in button did help with focus but I found that the Digiprimes were so sharp that they resolved way beyond the finder rez.
Rob Bullard
varicam@mac.com
401-447-0291