Tony
Forum Replies Created
-
Robert,
There are plenty of professional pieces of equipment which use composite or YC outputs. However these units may have a built in time base corrector or stabilizer which is essential.
Just because the LH has a composite input does not mean it will deal with unstable crappy video unless it has a frame sync built in to deal with such video.
Tony Salgado
-
First and foremost you need to use some sort of waterproof or splashproof cover jacket or cover for the camera.
In you are shooting on the ocean salt spray is quite corrosive to any camera. It make take months to discover actual corrosion which has worked it’s way into the camera body. I recommend treating the outside camera body with a salt corrosion fluid in advance. Do a search on the web for salt removers which can generally be found at a Marine supply shop. Just make sure to verify that it will not do damage to the rubber components of the camera body. Do not use any fluid which has an acid in it.
In terms of lenses you might want to consider a camera which has an image stablizer built in or can accept an external stablizing lens. The stablizing lens is ideal for dealing with the up and down motion on a boat.
But in anycase protecting the camera from exposure to the water and salt spray is paramount.
Tony Salgado
-
My sources tell me that in 2007 expect a Varicam P2 camcorder.
The first generation 2/3″ HD P2 camcorder will not offer 24p for reasons such as not killing off the dvcpro tape Varicam at this time.
Jeff Merrit of Panasonic stated there will be no new Varicam camcorder shown at NAB 2006.
The Infinnity camcorder from Grass Valley will not have 24P for the first version also.
Most manufacturers go for the larger market section first (broadcasters) then for the niche market 24P (filmmakers).
Not everyone who is going to buy the camera in bulk needs or desires 24P. Why do you think Sony made their 1/2″ XDCAM HD camcorders first before releasing the 2/3″ 24P versions? Well CBS who placed a large pre-order had a large influence on Sony’s marketing plan.
Other manufacturers are in the same boat and have to listen to their larger customer base first.
Tony Salgado
-
Steve,
C’mon give the guys a break.
The creative cow is not google.
The purpose of these forums are to provide information to those willing to ask and from those willing to provide answers.
If you want to start a search engine on your own for those who can’t figure out google then do so.
Maybe you could call it Wargoogle.
Tony Salgado
-
I think the software might be from a Japanese firm as the Panasonic DVD I have is both in Japanese and English.
Maybe Jeff Merritt might be able to enlighten us more.
Tony Salgado
-
Dan,
Can you let us know who the dealers were whom you had the bad luck with regarding the HVX-200? If not full names maybe just initials?
Tony Salgado
-
You might have just missed one for sale from Bruce.
See the thread below to confirm if it is still available.
Tony Salgado
-
I can’t recall if the LH has a frame synchronizer when dealing with footage which cannot be genlocked.
The IO has this feature.
With material such as vhs,8mm or other non genlockable playback devices it is necessary to run the footage thru a frame sync (also called a frame shaker) to stablize the video.
The problem has nothing to do with the LH’s genlock input instead it is your playback device which cannot be genlocked. You are expecting too much from a crappy consumer playback device when interfacing it with professional gear.
A workaround is to loop it thru your DSR-11 and take either the firewire or analog outputs from the DSR into the Kona LH.
Tony Salgado
-
HDCAM SR can record either 4:2:2 or 4:4:4. The Sony F950 camera is one of the Sony camera than can output a processed (not raw) 4:4:4 signal.
Tony Salgado
-
In order to monitor the output of FCP properly you should avoid using a device such as the camera which can add 7.5 setup to the analog outputs.
The ideal method to monitor the output of any NLE system is to use a video card or other input output device such as the AJA IO which will output SDI and if you choose to monitor in analog these devices can also output component analog or composite but you must keep in mind 7.5 setup can be added.
FCP retains captured images in a digital domain so it does not add setup since setup is only a analog domain output issue.
If your going to edit in dvcpro HD and you desire to see what the HD recording really looks like then you have to avoid using a the camera as a “mickey mouse” output solution for viewing a downconverted image.
The problem you are having has nothing to do with FCP but instead your workflow.
Tony Salgado