Ryan Pratzel
Forum Replies Created
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We travel with gear frequently and we’ve learned a few tricks over the years. First off, know your airlines rules. If you get a gate agent who is strict, a standard PortaBrace carry-on bag for an HPX370, HPX500, HPX2000, etc is too big. It’s over the size limit.
We often travel with our HPX500, HPX170 and our 250. When we travel with the small cameras, they fit in a smaller PortaBrace bag that goes on board. We bought a bag that will fit in an overhead on a standard plane and it fits under the seat on commuter jets. (CRJ200, 700, 900) Avoid Embrarer 135/145 aircraft.
With the 500 we break it down and carry it on. We have a Cinebags 25 backpack. The body of the camera fits in the bag. We put the viewfinder and shotgun mic in the top pouch in the bag. There’s also a laptop pouch in the bag. We use the side pockets for wireless mics and (2) Dionic 90s. The lens goes in a Pelican case that goes on board. It’s briefcase sized. This way the camera never leaves my sight.
We use TufPak cases for tripods, light stands, etc and pack any other accessories in Pelican cases. We always try to rent lighting on-location if possible.
My other big tip, know the different types of aircraft and what they have in terms of on-board storage. Most camera bags will fit in the overheads on Airbus and Boeing AC. When you get into the commuter planes some are better than others.
Ryan Pratzel
Executive Producer | Creative Liquid Productions
creativeliquid.com -
I own a 500, 170 and 250 and have used the 370 many times.
If I was buying a new camera today (I just bought a 250), I would go with the 370 over the 500. The 500 is a great camera, but the full 1080 appeal of the 370 is a better long-term solution. AVC-INTRA is also a good reason. If you are going to shoot a lot of green screen work, the 10-bit codec is better than DVCPRO HD.
The 370 is selling for $7200 right now with the Panasonic rebate. That includes a lens. The 500 will cost you 15-20k by the time you buy glass.
Both cameras have HD-SDI out, so you can hook into an external monitor. We use both FSI and Panasonic monitors with our cameras in the field.
The 500 is a great workhorse and is a great full-sized camera, but the 370 has a true HD LCD and a better viewfinder.
Ryan Pratzel
Executive Producer | Creative Liquid Productions
creativeliquid.com -
I will echo the other sentiments. The 170 is an excellent camera and incredible value for the money. It’s ready to go out of the box. An AF100 will require thousands in extras (Lenses, etc)
We picked up a 170 to compliment our 500’s. They match beautifully and we have never had a problem with the 170 in low light. For a camera under 4-5k, it is one of the best options.
Ryan Pratzel
Executive Producer | Creative Liquid Productions
creativeliquid.com -
It’s good to see some editors actually diving into the software to see what it can do. I’ve been saying since April that in time FCP X has the potential to be a great application. Right now it’s not the best solution for our multi-seat company, and it lacks broadcast monitor support, but these are issues that will be addressed.
I recently cut a project on FCP X.
I shared my thoughts here: https://creativeliquid.com/news/archive/2011/08/final-cut-pro-x-actionAnd yes, it does feel strange going back to FCP 7 or Avid for that matter.
Ryan Pratzel
Executive Producer | Creative Liquid Productions
creativeliquid.com -
Peter-
It appears the link to the photos is no longer working.
We have (2) 500’s in our shop, 2 AF100’s and an HPX170 and we have never had problems matching them. In fact, this is one of the best attributes of Panasonic cameras (in my opinion)
Without seeing the photos check the following:
1) Make sure the cameras have the same scene file settings. We always dial in settings when multiple cameras are being used.
2) Make sure they are both in film mode or video mode.
3) Make sure they are set to the same format and frame rate.
4) Maybe your DP needs to draw a lighting diagram that can be used by other shooters. This will help maintain consistency.The 500 is one of the easiest cameras I have ever worked with. Unless there is something wrong with the camera your crews should not be having major issues. Also, if they are having saturation issues have them turn on the zebra stripes. Are they using a field monitor? We almost always have a monitor in the field. The LCD and viewfinder on the 500 are fair at best. Shooters not used to how to read them can run into problems.
Ryan Pratzel
Executive Producer | Creative Liquid Productions
creativeliquid.com -
Gizmodo has a history of bashing Apple products. They also have a grudge with Apple over the iPhone 4 leak investigation. I take anything they say with a grain of salt.
Ryan Pratzel
Executive Producer | Creative Liquid Productions
creativeliquid.com