Steve Wargo
20
COW Coins
4
Premiere Pro Coins
Forum Replies Created
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Actually, I would go for the 100B. I’ve shot a feature with the 100 and 100A and it looked very good on the big screen. The problem with the stair stepping might have been in the projector. My second unit camera operator shot a documentary later with a Z-1 and he said he would never use that camera again but would rather shoot with the 100B even though it’s standard def. Will your movie show in theaters or on DVD?
The audience will expect a progressive 24 fps image and the 100B is very close in picture gamma to our F-900. Before deciding, you need to shoot a test scene with some contrasty situations like outdoors in the shade and in the sunlight and also with some fast movement.
The 24P mode on the Sonys is not acceptable. Without 24P, your movie will have a difficult time looking like a movie. It will look more like a sharp home movie.
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We have a Pioneer PRV-LX1 ($5000)and we have a heck of a time with it reading the DV input. Most of the time, we capture from a Sony DSR-40 deck. And, most of the time, we get a message at first saying “No Input” when we hit record or preview when it’s set for the DV in. We keep trying and it eventually takes it. Because of this, we also have the S-Video/RCA connection hooked up in case we’re in a hurry. BUt, we haven’t had it stop in the middle of a record.
I asked Pioneer about it and they replied that I am the only whiner in their user pool. So now, I guess there’s two of us.
We need to investigate a little further, ya think?
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We too, have a bunch of BetaSP, D-2, Beta and even U-Matic, some brand new, most with one pass. It’s all been transferred to DVD.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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Absolutely! Try Media Communications International. The address is http://www.MCA-I.org
I belong to the Phoenix chapter which is one of the largest in the entire country.
I travel a lot and always use the MCA-I directory for finding reputable people.Please check our Phoenix website at http://www.mcai-az.org. Locate our promotional video about 3/4 of the way down the opening page and give it a whirl. It’s titled “The Roadshow Video”. Most of the video shots are from our behind the scenes production reel so I like to show it off. That’s me in the hat with the flames on the brim.
MCA-I used to be called ITVA (the International TeleVision Association) and hes been around for over 20 years.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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Ahhhh Got it.
Thanks all
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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According to our dashboard widget
1 minute of uncompressed 8 bit 4 chan of audio 1920 x 1080 23.98 is 5.99 Gb
1 hour of uncompressed 8 bit 4 chan of audio 1920 x 1080 23.98 is 359.4 Gb
The widget is located on the Apple site under widgets as “Videospace 1.0” from Digital heaven Ltd.
Maybe now I can get some sleep.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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OK, a bit more
A 50 minute HDCAM Tape is 250 Gigs & 4 tapes or 200 minutes would be a Terabyte. Almost every feature we’ve dealt with has been 23 to 25 tapes. I did this from memory at 1am so I hope it’s right.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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Uncompressed HDCAM 8 bit is 5 gigs per minute.
Steve Wargo
Tempe, ArizonaIt’s a dry heat!
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All of the above responses are right on the money. Most people outside our business have no idea what we are worth. They do know that video is video and it’s all the same. Yep, we all shoot on VHS. They think beta is the home format that lost. Why buy grip gear when all you really need is a news camera, black tripod, a big battery and a small light on top. No microphone is needed because there is one mounted right on top of the camera, right where it belongs.
When we get the inquiries, we first get a name, address and phone number. After they faint at the real price, we advise them that there are other sources that can match their budget. We refer them to recent grads of the local film/video school. We also, very politely, make sure that they have our contact info so that after they receive their footage, we would be happy to look at it and advise them on any problems that they may see or wonder about. When they bring the dark, shaky, out of focus footage, tell them it’s actually pretty good for what they paid. Have a premo shot reel available nearby and show them the difference. Be as kind and professional as you can possibly be and never cut down the competition. Just say “Here is a sample of our typical work”. Keep it brief. Don’t say “What the hell did you expect for $125, you dumb shit”. This may turn them away.
When these things come in to us, if it’s gotten to the point that I mentioned above, I’ll sometimes offer to do it right and actually subtract the amount that they paid Mr Shaky. But only if they feel like long term repeat clients. Be the hero. They need one right about now. Hold their hand. Give em a hug. Cash their check.
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The money is really secondary when it comes to the jerks out there.
We recently tossed a client who is probably going to be very wealthy soon but when you know you’re going to face a boatload of bullsh– to work for someone, it’s far better to cut bait and move to another part of the lake.