Steve Wargo
20
COW Coins
4
Premiere Pro Coins
Forum Replies Created
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I agree. The 100 has a vast array of settings. It is tough to look at a small monitor and try to see what the picture might look like blownup. On my feature film, my AC did a week of testing before we started. Our big problem was working outside in the shade and then seeing something lit by the sun. Way too much contrast and the white really blew out. We had to be very careful.
It’s all a combination of camera settings and proper light levels.
SW
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Hey there Tony,
The F-900 is truly meant to be mounted on something other than a shoulder. A dolly or crane would be up to the task. I was thinking about replacing my 900’s shoulder pad with something more comfortable, like a bag of cinder rock or a pad made of barbed wire. Besides the unbearable weight, the shoulder pad feels like a brick. My DSRs have cell filled pads.
As for 4 channels of sound, the only present candidate in small cameras is the Canon XL stuff. True, the old Betas had 4 channels in the BVV5 but what a monster. We used a BVW 50 for our field deck and studio source. My poor wife carried that deck for miles. I should build a monument to her for it.
Side note for Tony: 10 years ago, we were shooting interviews at an IRL race at Phoenix International Raceway. As we were interviewing the crew chief of the lead car, an accident happened about 100 feet away in turn 4. All I knew was that the people in my VF were ducking and running. Of course, a shooter is going to immediately run in the direction of the wreck. When the network switched to the wide shot, you can see me running toward the accident, until I ran out of cable that is. My poor wife was trying to keep up but no dice. The slack ran out and I just about landed on my butt. It looked hilarious on TV but we did get to the wall before the cars finished spinning. And to listen to some of today’s shooters complaining about their 6 pound unit being a bit heavy…
Anything to get the shot!
SW
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Thanks Ken,
Exactly where was it that I mentioned the Sony DSR 400? The 300/500 is smaller in length by about 2″ and it’s 1 1/2 lbs. lighter. Every inch counts inside a car. I also mentioned short lenses. Canon and Fuji sell lenses that are half as long as what normally comes on a camera when you buy a kit.
As someone who has watched the show from it’s opening episode, I can say that there have been a number of times when the 2 person crew has been “on camera”, through a reflection in a window of a car or storefront or shot by a second crew. They also did a segment where they showed the Barbour/Langley offices and staff as well as their edit suite or shall I say cubicle?
I wrote to someone at their office and asked that they join us on-line. I would like to know how their equipment has evelved over the 13 years that they have been on the air, also.
Steve Wargo
Shooting cars for 23 years -
Exactly what would you expect from a $3000 camera? If you want it to look good blown up, you’ll have to start with some larger chips, among other things.
The DVX is great if you’re going to DVD distribution. As for theatrical work, it could get by with an experienced operator and the world’s best gaffer.
Just my $.02 worth.
Steve Wargo
Who, by the way, shot a feature with 4 DVXs and got it into distribution. -
1. A 900 is way too big. You should have a small (dsr-300/500) or other camera with a very short / wide lens. You’ll never have to zoom in on any distant item. I like the DSRs because of their 3 hour tape load.
2. COPS uses 2 lavs and a boom with a Shure 3 input mixer and a boom pole with a shotgun.
3. At this time. I think that the Panny DVX100A would work OK. It has a wide lens and an adapter that makes it wider.
4. Wouldn’t 3 audio channels on the camera be a very nice thing to have? 1 inch had three channels. (Please don’t write back about portable 1″ machines)
Sony’s XDCAM is the real answer. This is the perfect format for news.
By the way, this is a Cinematography forum, so, MOS means “with out sound”. In news, it’s now “Triple A”, as in “Any Assholes Answer”.
SW
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simply hit the spacebar three frames earlier.
sw
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The F900 is soon to be replaced. Obsolete? It has it’s share of problems. The primary reason is the use of lead solder on the boards. EPA says “No, No – Gotta Go” They are afraid that the F900 will polute the world as they all get tossed into the nearest dump. (Here’s your cue, rune).
Silver solder requires hotter processes and the boards would all have to be redeigned to accomodate. Sony will build a newer, overpriced camera to replace it. On the good side, ours has been at work 49 of the last 60 days. The local VariCams are seeing a sudden surge in labor also. Good for all of us.
Should you upgrade your VariCam? Only if your clients quit hiring you because you have outdated gear. Tip: Don’t tell them. The picture is still great.
SW
F900 etc. -
What are you shooting on?
sw
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I wouldn’t put it all in one sequence. When we do a feature film, we have a different sequence for each scene. It really saves resources.
SW
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I’ll test mine tomorrow. My DSRs do it, but they were a lot less money. I think that the more you spend, the less you get. Try to find a Sony HD camera with a lens light built into the viewfinder housing.
They’re just like Harleys. Everybody copies them, but why?
SW