Ryan Pratzel
Forum Replies Created
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The Panasonic HMX100 switcher/mixer is a great HD switcher and it has (4) SDI inputs. We’ve had one since they first started shipping and the quality is great. We’ve run into some minor issues in SD, but for HD no problems.
Ryan Pratzel
Executive Producer
Creative Liquid Productions
http://www.CreativeLiquid.com -
I know you posed this question back in October, but I just stumbled upon your threat and I thought I would chime in.
I know it’s a bit more of an investment than a royalty-free library, but we get most of our music from 615 Music. They are phenomenal and their libraries update every quarter, so we are constantly getting new music. We pay a *very* reasonable blanket license each year that covers (3) of their libraries. When then recoup our costs by charging our clients a per-cut fee. This fee is usually nominal compared to the overall budget of a project. I highly recommend their Scoring Stage and Platinum libraries.
Ryan Pratzel
Executive Producer
Creative Liquid Productions
http://www.CreativeLiquid.com -
Jeremy-
We do this type of setup frequently. You can do it software based with Wirecast or UStream has it’s own software called UStream Producer. UStream producer is a re-skinned version of Wirecast and is made by Telestream. The only problem with it is that it only works with UStream.
When we do this type of switch we do two cameras into a firewire hub. We have never been able to do more than (2) cameras. The bandwidth into the computer is just too much. Also, what we normally do is BNC from the cameras to a canopus box and then to the firewire hub.
With that said, we don’t do this in HD. I have yet to see effective streaming via HD on UStream with this type of setup. In fact, one of the multi-cam projects we did was with a tech rep from UStream and he did not recommend HD streaming.
We have also done these live streams with a Tricaster and hardware switcher. Either solution works. It always comes down to budget.
In terms of cameras, we’ve done live streams with HPX500’s, HPX170s, and Sony HDV cameras. We even did one recently with Ikegami studio cams (going through a tricaster).
I highly recommend finding someone in your market who has done these setups to assist with your first project. This will save you alot of headaches.
Ryan Pratzel
Executive Producer
Creative Liquid Productions
http://www.CreativeLiquid.com -
Dennis-
If you have the money, I would go with the 500. I own a 500 and we love it at my shop. With that said, it’s a much bigger investment than the 300 or 370. We bought HD glass that cost us more than the camera. While the 500 is no Varicam, it shoots beautiful HD footage. My camera lives most of the time at 720p 24pN.
In terms of codecs, DVCPRO HD is a rock solid legacy HD codec. It would be nice if the 500 shot AVC-INTRA, but my Panasonic rep tells me that’s not going to happen.
Also, think about who your client base is and which camera will better serve your needs. Our rule: buy gear that meets 80% of your needs and rent for the other 20%. This keeps us from spending money where it’s not necessary.
Ryan Pratzel
Executive Producer
Creative Liquid Productions
http://www.CreativeLiquid.com -
I was in Vancouver shooting for NBCOlympics.com and Anheuser Busch. I shot on one of our HPX500’s. However, every NBC network crew we came in contact with was shooting Sony XDCAM.
In fact, in the Feb 3, 2010 issue of TV Technology there is a front page article about Sony providing NBC with all of its cameras for Vancouver. The article states NBC obtained 20 PDW-800’s for ENG/remote shooting. We saw alot of these.
Also, another note, we noticed CTV and CBC crews shooting Sony as well. These were all ENG and non-event cameras.
On the smaller camera side, we saw alot of HVX200’s.
Ryan Pratzel
Executive Producer
Creative Liquid Productions
http://www.CreativeLiquid.com -
Rebecca-
I hope your studio build is going well. I agree alot with much that has been said in the responses to your post. Also, I highly recommend a consultant, even if it’s a local professional.
We have offered consulting services to several small production companies, and organizations adding a video department. There is no one size fits all approach. In fact, we just consulted a start up production company in China that brought us a complex series of challenges. (Long story)
With that said, here are a few things to consider before spending a dime:
1) What is the most cost effective use of your financial resources?
2) Will you require regular engineering assistance or are you familiar with everything you are buying?
3) Is there some equipment that is more cost effective to rent or will the equipment be in use daily?
4) What will 80% of your clients need? Our rule is always buy for 80% of your needs and rent or hire out for the other 20. This keeps you from buying and maintaining expensive equipment you rarely use.Feel free to email me if you have any questions. ryanp@creativeliquidpro.com
Good luck.
Ryan Pratzel
Executive Producer
Creative Liquid Productions
http://www.CreativeLiquid.com -
Niklas-
We have the 500 as well and our cameras live 99% of the time in 720p 24pN. It all comes down to what type of projects you’re working on. 1080 isn’t necessarily better than 720, but it all depends on your situation.
Remember 720 footage will take up less space on your P2 cards. It will also take up less space on your edit suite. The 1080 is nice if you need the extra resolution (ie: scenics, television work, etc)
The best advice I can give you is look at distribution. If your videos will mainly live online or on SD DVDs, 720 is fine. If you are producing more for broadcast you may want to go to 1080.
I should also mention we shoot NTSC, but I can’t image the differences being to major with PAL.
Hope this helps.
Ryan Pratzel
Executive Producer
Creative Liquid Productions
http://www.CreativeLiquid.com -
Al-
I know you have gotten alot of great advice, but here are a few more quick tips. I’ve done a ton of traveling this year and about to do some more in November.
1) Measure your bags. Discount airlines can be sticklers for carry-on bags fitting into those tiny test compartments at the gates. When I travel with my HPX500 on discount carriers I put the camera body, VF, shotgun mic and (2) AB Dionics in a Cinebag 25 backpack. The lens goes in a Pelican case that I carry on board that fits under the seat. I also try to book on larger planes (no regional jets) whenever possible.
2) (2) Lithium batteries. That is the current rule for batteries on the plane. I travel with (2) AB Dionic 90’s. The bigger Dionics are OVER the FAA limits for Lithium batters (if I remember correctly) Anton Bauer has great travel info on their website. I have a print-out of their specs and carry it with me in case TSA ever questions the batteries. Last time I checked you cannot check pro lithium batteries in your checked luggage.
3) I try to not travel with lights when I fly. If I need to travel with them I pack them either in a Pelican case or if it’s just a few small lights, in a suitcase wrapped in clothing. When I need lighting I try to rent local. Alot of lighting rental shops will deliver and pickup from a shooting location for a freight charge. Also, consider LED’s. They are easy to travel with and you don’t have to worry about bulbs. (Coollights.biz)
4) When I fly I always try to pre-board. I usually ask the gate agents very nicely. This way I guarantee I will get overhead space.
Finally, the last bit of advice, make sure you have all of your paperwork in order if you travel internationally. I traveled to Canada with a producer back in June and he had no idea he needed customs paperwork for his Sony HDV camera.
Happy Travels.
Ryan Pratzel
Executive Producer
Creative Liquid Productions
http://www.CreativeLiquid.com -
Tom-
I know you have gotten alot of great advice, but here are a few more quick tips. I’ve done a ton of traveling this year and about to do some more in November.
1) Measure your bags. Discount airlines can be sticklers for carry-on bags fitting into those tiny test compartments at the gates. When I travel with my HPX500 on discount carriers I put the camera body, VF, shotgun mic and (2) AB Dionics in a Cinebag 25 backpack. The lens goes in a Pelican case that I carry on board that fits under the seat. I also try to book on larger planes (no regional jets) whenever possible.
2) (2) Lithium batteries. That is the current rule for batteries on the plane. I travel with (2) AB Dionic 90’s. The bigger Dionics are OVER the FAA limits for Lithium batters (if I remember correctly) Anton Bauer has great travel info on their website. I have a print-out of their specs and carry it with me in case TSA ever questions the batteries. Last time I checked you cannot check pro lithium batteries in your checked luggage.
3) I try to not travel with lights when I fly. If I need to travel with them I pack them either in a Pelican case or if it’s just a few small lights, in a suitcase wrapped in clothing. When I need lighting I try to rent local. Alot of lighting rental shops will deliver and pickup from a shooting location for a freight charge. Also, consider LED’s. They are easy to travel with and you don’t have to worry about bulbs. (Coollights.biz)
4) When I fly I always try to pre-board. I usually ask the gate agents very nicely. This way I guarantee I will get overhead space.
Finally, the last bit of advice, make sure you have all of your paperwork in order if you travel internationally. I traveled to Canada with a producer back in June and he had no idea he needed customs paperwork for his Sony HDV camera.
Happy Travels.
Ryan Pratzel
Executive Producer
Creative Liquid Productions
http://www.CreativeLiquid.com -
I’ve done a lot of traveling this year. With some airlines my 500’s Porta Brace case is just fine, but with others it’s too big.
Here was my solution:
Cinebags CB25 Backpack
-Camera Body, VF, Shotgun, Accessories, Batteries
-Pelican case for the lensPelican case fits under the seat in front of me, backpack fits in the overhead. **However, this won’t work on a smaller commuter plane.
Happy Travels.
Ryan Pratzel
Executive Producer
Creative Liquid Productions
http://www.CreativeLiquid.com