Scott Plante
Forum Replies Created
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Don’t be offended, but is the viewfinder in and locked? I am co nstantly taking it off when I’m using my microdollie and occasionally I don’t put it back in place properly and I’ve experienced the same thing until I slap myself and correctly place it in correctly.
Visualeyes
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I bought a RODE NTG-1 short shot gun (on my soundman’s rec)for under $300 cdn and then had the modified 3-5 pin XLR made by the company that sold me the 900. I also had a custom sliding plexi case cover made for the Pan monitor (protect the face and controls during travel)and drilled out holes top and bottom and used a couple of 3/8 short bolts to attatch it to the existing mounting holes in the monitor itself…doesn’t take up a ton of space in the travel kit and gives me great protection from screen damage.
Visualeyes
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Just be sure to order the right toe plate for matte box with rods. The mounting holes are different on the SONY vs the Panasonic plates. I had to recently re-drill holes in my plate in order to use mine.
Visualeyes
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I use the 900, but I only use polarizers and grads. The rest of the “look” is more of an art direction thing in post.
Visualeyes
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oops, sorry….it
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I ecently took delivery of my new HDX900. I have shot some tests prior with the various 24/30/60 frame rate settings while deciding on a “look” for an upcoming architecture series. I thought I would visually alter the look between the on-camera interviews and the b-roll (mos). I decided to go with 30 for the interviews and 24 for the cover material.
The client has just taken delivery of the new 1400 deck and we were looking at the rushes in order to agree on the visual approach. I noticed some severe “sflicker” on the horizontal plane which was not what I was expecting. I’ve used 24P with the varicam and never encountered it. I’ve shot 35mm and 16mm and loved the idea of a reasonabled priced alternative that the 900HDX offered. When i saw this test I was confused.
It turns out (after speaking with a Panasonic rep) that until the material is digitized into the non-linear environment this “flicker” while viewing the raw tape off the 1400 is a natural artefact of the dropped frames.
“The flicker that the customer saw was probably the pull down artefacts. When 24pa 2:3:3:2 is removed you should have a 24fps time ” Final Cut has a frame rate converter built in to the software.
Visualeyes
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Innovision makes some great specialty lenses and you could explore a set of diopters for extreme cls ups. Also, I’ve used a magicfire flashlight (halogen bulb) mounted on a c-stand and armed in.
Visualeyes
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Tom,
I opted for the 17×7.6 HD lens (85 mm outside diameter) with the wide angle attachment (WA75HD + 85 II adapter). Haven’t quite worked out what that gets me, but I’m guessing around a non-zoom 5.7mm configuration).
Visualeyes
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I did a shoot yesterday with the HDX900 and had both the Canon 17×7 and the 4.7 lens. This is an architecture series and needing a wide angle is crucial, but after swapping out the lenses and looking at each I decided that the 4.7 was just too “fun house” looking. I ended up shooting the whole day with the 7.7. I have since decided to go with the Canon 17×7.6 with a HD wide angle attachement (not converter for zoom thru.) I was flopping back and forth between staying with my SD lens, but I have decided to bite the bullet and go full HD. The MTF curves and the colour shifting (I’m doing alot of pans and tilts)were the final deciding factors. In addition, the outside lens diameter of the 7.6 is 85mm versus the 17×7 which is 98mm. This way I can continue to use my existing matte box and 4×4 filters, all I have to do is get another lens insert for the matte box….much more economical.
Visualeyes
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Currently I have a SD FUJI 15×8 that I’m quite happy with, but that “HD” label is almost a pre-requesite for some producers. I’m thinking about buying the sticker.
Seriously, the difference between the SD 15×8 and the new HD 17×7.6 is hard to see. I’m not sure if dumping a whack of money for a sticker is worth it. And if that’s not enough, the outside diameter of most of the new lenses ranges from 85-107mm. At least the 17×6 is close (85mm) to the old 82mm standard that you can keep using the same matte box and filters (with a change to the insert)instead of having to replace all of it.
I fully understand the whole MTF argument and the slight colour shifting, but is it worth $13-$20 K? I’m wondering what the combination of the old SD lens with a HD wide angle attachment would do?
Ah more testing.
Visualeyes