[Steve Wargo]

Don’t be the Hero.
I shot off-road races for ESPN for years and am now paying the price.
Hire a person to haul your gear.
Carry the camera with your left hand.
Take frequent breaks.
Get a cart of some kind like a modified golf bag carrier.
Use a monopod when you can. It will screw into your camera plate.
Get a Steadi Stick from Tiffen or someone else. This transfers all of the weight to your hips. Best $250 I ever spent.

Oh yeah. Don’t be the hero. It’ll cost ya later. (repeat often)

steve wargo

[Steve Wargo]

First of all, stop drinking.

SW

[Steve Wargo]

Why in the world would you change software in the middle of a project? Didn’t your mother teach you anything?

sw

[Steve Wargo]

What I said, Ryan, is that an in-camera zoom is a last resort, or used for a special effect, but it is not a common practice. I see that your profile is empty. How about filling that in so that we can take at look at your history. Mr. Ticheli and I have have been award winning cinematographers for decades. A cinematographer uses a dolly, crane, jib arm or steadi-cam to achive his moving image.

Quite frankly, the constant use of the zoom by today’s amateur “filmmakers” makes me ill, as it will any audience.

We’re done here.

[Steve Wargo]

Yeah, I guess. With all of the new “films” coming from any one who owns a video camera, everything is now OK.

A live zoom on camera is only used when nothing else works. And I stand by that. If you want to zoom in and out in your movie, you go right ahead.

Steve Wargo

[Steve Wargo]

The 100 has low audio in the headphones and I believe that they only play on one channel in phones. In the past, we’ve suggested a booster like “The Boosteroo” or others when using headphones. The audio level is not adjustable either.

Try this: Switch Ch2 to another, non-working input. Can you hear Ch1 in the headphones? Now, switch and listen for ch2 in the headphones. This will tell if you’ve got both channels feeding the phones.

Record to tape using one channel and then the other. Plug a monitor into the audio and video out jacks and listen to the sound.

One other thing. When you hear a clunk from the camera as it’s tilted, that’s normal too.

The sound things were basically fixed in the 100A model.

Good luck Mr. Audio Engineer,

Steve W

[Steve Wargo]

[Ryan] “zooms are perfectly exceptable to use”

By who?

A zoom is only used a last resort in the “cinema” business. In video production, though, it’s as common as everything else.

And if you do decide that a zoom is absolutely necessary, the audience should never see it. Unless you studied under Sergio Leone.

Steve W.

[Steve Wargo]

Ask Robert Rodriquez about the pitfalls of recording audio at 23.98 or 24. Besides, the DVX100 does not record at 24 or 23.97. It records at 29.97 only. You can remove extra frames if you want but then what? You can’t record a 24 frame sequence to anything and if you could, what TV or monitor would you watch it on?

We shoot with a Sony F-900 which actually records at 23.98 (or 24) and, if needed because of multi-tracks, we always record sound at 29.97.

Steve Wargo

[Steve Wargo]

So why didn’t you just keep on typing?

[Steve Wargo]

Buy a bunch of em. You’ll need em.

sw