[Thomas Miller]

This is really great, Dan! I wish I had found this when I was agonizing over my decision. The article really validates what I’ve felt about it intuitively. Thanks for taking the time to do it!

Tom Miller
Big Pictures Media
Denver, Colorado

http://www.BigPicturesMedia.com

[Thomas Miller]

I didn’t notice anything with the LCD, only because I wasn’t the one on my team who shot with the 200a. I can tell you that the images from the 170 are pretty amazing!

Tom Miller
Big Pictures Media
Denver, Colorado

http://www.BigPicturesMedia.com

[Thomas Miller]

Hi Chris, I’ve had both and can tell you I personally like the 170 much more. I had the original DVX100, and have sort of followed the lineup as it’s evolved, always as one of our 2nd cameras. We bought the 170 last year, and then had to buy the 200a this year because a client wanted mini-DV for an 8 day shoot and our DVX100 had finally died. So the shoot paid for the camera. When the shoot was over, I thought long and hard about which one I would keep, and decided on the 170. We sold the 200a. Here’s why for me – I LOVE the SDI out on the 170. We can plug it into any of our HD monitors. I like weight, and the form factor much more. I found the 200a to be a little clunky. I like the menu access of the 170 better. Also, I feel I can now convert most clients who may ask for miniDV to P2, so I am abandoning mini DV. Now, the 170 is not as stout as the 200. The 200 seems to be a bit more rugged. But again, this is a smaller camera for us as an alternative or 2nd camera to one of our broadcast units like the HDX900, Varicam, or the F900. So our goals may be a bit different than yours. Funny, I had a shoot with it last night and started out on a tripod, but quickly went handheld. For me it’s such a great handheld camera since it’s so light. You can flow up and down and through things really easily. It’s fun to work with.

Tom Miller
Big Pictures Media
Denver, Colorado

http://www.BigPicturesMedia.com

[Thomas Miller]

One thing to consider is what do you want your business to be – a production company or a facility. We have dabbled in equipment rental, and learned that there is a lot more to it than just a side way to utilize our equipment. So we got right back out. Our focus is shooting and production for high-end projects. When we need a studio, we build it into the budget and rent one. So if you become a studio owner that’s available to everyone, you have to consider who will manage it, who will book it, who will be there to keep the lights on and make sure no one rips anything off. It’s really a very different business model than a production company. That being said, if you have enough need within your own productions, then by all means get it. But my only advice is be careful about raising your nut so much by providing this facility that you are forced to take your business in a whole different direction to support it.

Tom Miller
Big Pictures Media
Denver, Colorado

http://www.BigPicturesMedia.com

[Thomas Miller]

I completely agree with you, David. The Kinos are great for Daylite balanced scenes, but I hate the color of the warm bulbs. If there is a gel for them, I’m not aware of it. Give me a good ol’ tungsten for indoors any day!

Tom Miller
Big Pictures Media
Denver, Colorado

http://www.BigPicturesMedia.com

[Thomas Miller]

Oh, I love this stuff! I would bring in our good friend with a bad attitude – Negative Phil, aka negative fill. On the fill side of your subject’s face, hang a piece of black duvateen, as close as you can get to the subject without seeing it in the shot. This will give you texture and shadow on the down side of the face, which will make the shot much less flat. It’s hard to tell from the photo, but the window as a key might be too steep to provide a catch light in the eyes, so you may want to bring a shiny board or the silver side of a flex fill to the KEY side of the camera – 5 degrees or so off of it. You just want to mirror light into the persons eyes for that catch light. If the subjects are looking at an off camera interviewer, you should put that person on that key side as well. You might break up the background light a bit if you are sourcing it from that window. A cookie or some branches off camera will help. Also, block that left side window with duvateen as well so that the background looks like it’s being lit from the same direction as the subject. And yes, a little hair light is a good plan. Also, make your 100b be as far away from your subject as the room will afford. This is a great way to reduce your DOF, and also it will contain the background so you don’t have to see as much of that window. And of course, roll in the max ND so that your iris is as open as you can get it.

Hope this helps – good luck!

Tom Miller
Big Pictures Media
Denver, Colorado

http://www.BigPicturesMedia.com

[Thomas Miller]

Rob Grauert suggested savevid.com, and it worked just fine.

Tom Miller
Big Pictures Media
Denver, Colorado

http://www.BigPicturesMedia.com

[Thomas Miller]

Thanks Jim. I took the advice of Rob Grauert in the FCP forum to use savevid.com, and it worked very well.

Tom Miller
Big Pictures Media
Denver, Colorado

http://www.BigPicturesMedia.com

[Thomas Miller]

Rob, that worked. Thanks again.

Tom Miller
Big Pictures Media
Denver, Colorado

http://www.BigPicturesMedia.com

[Thomas Miller]

Thanks Noah. Yeah, I eventually get copies of everything from the client, but it sometimes takes time.

Tom Miller
Big Pictures Media
Denver, Colorado

http://www.BigPicturesMedia.com