Tony
Forum Replies Created
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Don’t use the Xantrex as it does not have the power or run time needs for your applications. Also the last I checked it does not put out the proper sine wave for some electronic gear. (disclaimer check this out as I could be thinking about their previous model).
The Honda generator is the best solution as I have used it to power my HD gear on location with no problems.
Just place the generator outside and run ac cord ideally 12 or 14 gauge to minimize voltage lost to your lights indoors.
If I may ask why can’t you use AC for your lights if you are shooting indoors. Does the location not have AC power?
Tony Salgado
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Bob,
My disappointment was not getting a chance to meet you at the Avid meeting on Monday nite.
The stories you could have shared would have been worth the trip alone.
Hope to meet you next year.
Tony Salgado
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I still have my trusty Kona SD card. AJA still supports the product. If you want to use FCP 5 you will need to download the latest drivers from Black Magic.
There was a hardware update to allow using the card in a G5.
Contact Rudy at AJA tech support for details.
Tony Salgado
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Sony plate with Panasonic cameras has more play in it than the SCAM 700 sorry I meant to say SHAN 700.
Best method is a filmstyle sliding dove tail plate system.
Tony Salgado
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Consult with the post production people and ask them if they prefer 24P and why.
Or have the director be completely responsible for any technical misinformation in writing and let it become his problem if his instructions are wrong.
Tony Salgado
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It would be nice to have a direct link to the download pages for the data storage calculator and other non board specific software downloads instead of having to go thru a specific product support link.
Tony Salgado
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Ricky,
Yes I want you to know that they suck well actually the other guys do not AJA. AJA’s tech support has set an example of customer service that cannot nor will ever be matched by the big guys like Sony etc.
So if that sucks I guess AJA rules.
Tony Salgado
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Yes I can tell you everything and anything.
But after Apple and I will have to kill you to keep it all secret.
So start asking away.
Tony Salgado
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23.98 has become a default standard to make life overall simplier for both those in the field and in post.
It just becomes idiot proof sort of when everyone standarizes on an exact frame rate.
Shoot at 30P (actually 29.97P) in this case is another option when less motion blurring is desired or you are not concerned about the post production path to create a PAL master for overseas airing.
In Discovery’s case shooting at 23.98 allows them to create a universal master as NTSC and PAL masters can be created while retaining the edited 23.98 HD master.
Tony Salgado
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Wang the rule is as follows
If you shoot at 24.00 on camera then audio recorder needs to be at 30.00 NDF
In telecine the film will be played back at 23.98 for the xfer to tape at 29.97. Audio will be slowed down to match
Shoot a smart slate with visual timecode displayed and you can sync up the audio yourself in in FCP.You must make sure however that you have sufficient preroll on the DAT audio recorder before you drop in the visual slate.
IE 5 seconds of preroll then drop in visual slate for 1 sec clap sticks and call action.
If you drop in slate before preroll has been established you run the risk of having problems later locking up the DAT playback machine.
Of course if your record to hard drive for audio this will be a different story.
Note in HD where the camera or recorder can be set to 23.98 you would set the audio recorder to 29.97 to match the 23.98 frame rate on the HD camcorder or HD vtr.
In anycase the formula is quite simple.
Camera rate external audio recorder frame rate
23.98 equals 29.97 Non drop frame for both camera and audio (fyi DF does not exist in 23.98 or 24P)
24.00 equals 30.00 Non drop frame for both camera and audioGood luck,
Tony Salgado