Tony
Forum Replies Created
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Marc,
The option slot for HD-SDI or standard def SDI only allows the following.
(1) standard def sdi card which takes up one slot or (1) HD-SDI card which takes up the two slots.
If you look at the back of the monitor in the option slots you will notice there is only one set of connectors so even if you had two standard def SDI cards you would not gain anything.
FYI the standard def SDI card has two inputs which allow an A an B SDI input.
The BVM series monitors allow for multiple format cards such as HD-SDI, HD analog, SD-SDI, NTSC, YRB analog. The beauty of these monitors is you can switch from format to format via the keypad. Plus they have a reticle generator which can be adjusted individually for every single format input. This feature is great when shooting 16×9 but you need to protect for 4×3 and monitor in letterbox mode as well as 4×3.
I use the BVM series for in the field HD work where I need to monitor HD-SDI as well as downconverted SDI and NTSC feeds but only want to use one monitor and switch between inputs.
Of course there is one hell of a price difference for such a luxury.
Tony Salgado
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BVM series allows multiple input cards such as HD, Standard def SDI, component and composite. You can also you a probe to set up the monitor.
PVM series allows composite, component analog HD and SD, and one optional slot for either SD SDI or HD SDI but not both together. No probe for setting up.
I have noticed shielding on both bvm and pvm series sucks.
So in a nutshell the pvm series is alot bang for the buck minus some of the high end multi card options.
Tony Salgado
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Rich,
NDF and Drop frame refer to the timecode mode. In 29.97 you can have either NDF or DF timecode.
NTSC is 29.97 period regardless of the timecode being NDF or DF.How exactly did the crew “jam sync” the timecode between the cameras? Did you use one camera as the master and jam sync timecode and video out to timecode in and genlock in on the slave camera(s) one at a time. OR did you have a master timecode generator feeding tc to all the cameras. If the crew did not use the proper timecode jam sync procedures and just “winged it” visually by starting timecode on each camera manually then you are screwed (sort of).
If the timecodes between each camera do not match you will need to manually sync up each shot to a common sync point. In FCP under the modify menu go to timecode and you can enter in new timecode under the aux setting which you can use as a common timecode offset.
In a crash and burn ENG shoot the best method to jam sync cameras is to use Denke timecode sync boxes which you can mount to each camcorder and slave time code to each camera. The sync boxes are much more accurate compared to the internal timecode generators in most camcorders.
Tony Salgado
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Kris,
Leo hit it right on the nail. Technology without an experienced operators is disfunctional. Spend alot of time getting familar with the Varicam prior to the shoot so you will not be disappointed or waste alot of time on set learning the gear.
For high speed stuff shoot at 60P and consider using a shutter of 1/500 or above.
Tony Salgado
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Film and Video Services in Denver has one I have been told.
Fletcher Chicago has one also.
Tony Salgado
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Dino,
The AJ-D950 will downconvert to 60i interlace via the sdi outputs. This will allow you to input the footage into any of the 8 bit or 10 bit codecs over even dv50 because it is interlaced. You do however maintain the advantages of having originated in progressive.
You need to set up the menus to properly output 60i instead of progressive via SDI.
Tony Salgado
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What about a luggie bag for the mini mac. If you could make a bag sort of like a sandwich sealable bag I could slip my mini mac into my lunch box for on the go work.
Thx,
Tony
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Roy,
FYI it actually spelled and called an Alpha channel.
Tony Salgado
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I tested out all the Mackies and other brands as well. My final choice was to go with the HR 824’s.
They are just great, awesome sound quality and reproduction and well worth what I paid for them. Buy them for B&H for a good deal.
Tony Salgado
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Sean,
Working on the corporate shoots will give you a good foundation for skills required for lighting as well as shooting techniques. Another major item to learn is the politics required when dealing with paying clients.
Wedding clients can be quite demanding and I don’t recommend you test out your experience on these clients until you have sufficient field production experience as well as client protocol.
Good luck,
Tony Salgado