Steve Wargo
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COW Coins
4
Premiere Pro Coins
Forum Replies Created
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I would lean toward a Canon XL-H1 with a big ass honkin’ lens hanging off the front of it, a big bag of batteries, a solar charger, and a dozen boxes of tapes, seriously. That camera just begs for those 18″ long lenses.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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Ray,
Call me on this one.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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Tony couldn’t have said it better. Since we have been doing HD downconverts, we have discovered that less than 40% of the video people out there have any idea what the difference is between anamorphic 16×9, letterbox and 4×3.
We just had one of our feature films go into distribution. The producer brought me a list of deliverables and there were requests for variations of widescreen, letterbox and full screen, none of which made sense. When I talked to the producer, I asked for the distributor’s contact info so I could get it straight. He was tight lipped and and didn’t want anyone ruining the deal. (Rookies!) I took a guess and we’ll see what happens.
Anyway, back to the downconverts, and when we hire shooters, we have a chart that shows the three options and explains them. They sign off before any work is done and camera ops who get it wrong do not get paid and can be held liable for any costs involved.
As for the question at hand, good luck on “fixing it in post”. You could file a claim against the camera guy’s insurance. He does have insurance, right?
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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Check to see if there is a setting for video levels during downconvert. I know this sounds weird but with certain manufacturers (all of them) there could be a surprise built in.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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That is really great news, Ray. For years, the only solution was to replace a very expensive pick up block.
So, I guess what you’re saying is that there is hope for the Panicsonic line of products after all.
Had you heard that Matt DeJesus has two RED cameras on order? If not, consider yourself advised.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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You may want to read this first:
https://www.locationsound.com/proaudio/ls/tips/techtips17.html
Opinions differ on this matter and you might want to do some testing prior to shooting rather than taking anyone’s word for it.
On our feature films, we’ve followed the wisdom from this article and have had zero problems. We have an F-900 and have never used an HVX200.
Good luck.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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We use a Data Video SE-500 switcher. One of the composite outs is a quad screen. We use a flat panel monitor to view all 4 cameras and send a line to a tape machine or dvd recorder. We always live cut each program and then record a backup in a wide shot or audience look back camera so we have something to pull from for any fixes later.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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Agree with zrb 100% Finish your work and then, at their expense, let them start chopping away. It’s amazing how quick something is OK once there’s a price tag involved. We live by the “We pay for our mistakes. You pay for yours.” policy. Fair is fair.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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Our experience has been to have it up during the last 5 seconds. It needs to large enough to read yet small enough so that no one does.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!