Looking for sample HD equipment list

[Bob Hayes]

Anyone know of a source for a sample list of feature film HD camera packages. Or perhaps someone might be willing to list one of their HD packages. What lenses, Paint box controls, waveforms are you guys using.

[Kevin Zanit]

For me a pretty standard package is:

 

-F900 body, usually out of Panavision

-Set of primes and a few zooms

-I forget what the paint box is called. I just know it has a touch screen, and is mounted in a wood rack unit

-HDSDI back for the 900

-24" multisync monitor

-14" monitor for the director/ production (with the controls turned off)

-Small Astro on board monitor

-Then all your standard accessories that you would get like a mattebox follow focus, etc.

-Filters, lots of filters. It depends what I am doing but I get a lot of grads, so 6x filters. I also get my filters in 6x and 4x if we are going handheld . . . thus a big filter order.

-From Panavison, I always get an Arf (Anti reflection filter holder). It helps cut down on problems with stacking filters.

-A waveform/ vector scope (usually)

-Plenty of cable

-Batteries w/ charger

-Head and sticks

-Elhanan likes me to get the Clockit box for more than one camera, I say let sound handle it :D

-And plenty of time for my 1st to prep the package so there is no trouble. Generally, if we ship Friday and it?s a decent size package I will do something like this: Monday the gear gets pulled and brought down to the prep room. I generally hold off on coming down because there is nothing for me to do really. The gear takes a better part of the day to get out and built, especially after things get sent back, etc. I will have given a list of filters and stuff to the first, but I will still come down latter in the day to just see how things are going. Throughout the week I will do tests and fine tune the look, do some lighting tests and filter tests, and they will ship it Friday.

 

The package needs will vary project by project. Some shows you can?t carry a 24" monitor as it?s not portable enough. Some shows won?t have any primes, etc.

 

I am sure I am leaving stuff out. I am also sure David and Elhanan will have some input.

 

I may have some old paperwork with a list of gear that was shipped. Ill look for it and see if I can just scan it or something.

 

 

Kevin Zanit

[Guest Daniel J. Ashley-Smith]

RMB-150 seems to be highly recommended. Would you use something like a paintbox to alter the iris whilst shooting? On "Gladiator" they have some pretty good shots where the iris opens and shuts whilst shooting. Look very impressive. Be cool to actually do a shot like that.

Edited January 4, 2005 by Daniel J. Ashley-Smith

[David Mullen ASC]

I've actually never taken out a paintbox or a waveform monitor. Here's a list like I might submit, although the number of primes depends on how much I'd be using a Steadicam (I'd take a 5mm and maybe a 7mm prime in addition to the zoom, depending on the range covered by the zoom, but I'd only need a longer prime for a tighter Steadicam shot, like a 20mm). Many of the Fujinon and Canon zooms can be used on a Steadicam but not Panavision Digital Primo zooms.

 

Sony HDW-F900/3 HDCAM camcorder

Sony HDCA-901 HD-SDI adaptor

Evertz downconverter box

Miranda onboard downconverter

Ambien Clockit box

Astro DM-3000 7? HD LCD monitor

onboard monitor bracket

Sony 9? HD CRT portable monitor

Hoodman for 9? monitor

Sony 20? HD CRT monitor

follow-focus

3-stage 6x6 mattebox

clip-on handheld 4x5 mattebox

4x5 anti-reflection filter holder

mattebox eyebrow

mattebox hard matte set

microforce zoom control w/ panhandle

Digital Primo 8-72mm zoom (T/1.9)

Digital Primo 5mm (T/1.8)

Digital Primo 7mm (T/1.6)

Digital Primo 14mm (T/1.6)

batteries

AC adaptor

battery charger

O?Connor 2575 Ultimate fluid head

regular legs

baby legs

hi-hat

spreader

bnc cables

4x5 ProMist filter set (#1/8, #1/4, #1/2, #1)

4x5 Soft-FX filter set (#1/2, #1, #2)

4x5 Optical flat

Round Pola

6x6 ND soft-edge grad (.60, .90)

Diopters

Split-diopters

[Elhanan Matos]

My HD package usually consists of a stock F-900, because thats what I have at work, but I prefer to shoot with the Clairmont modified F-900, In my opinion it's the only rental house that has made any useful modifications to the F-900. Sooo on with the list....

 

F900/3 camera body

Accuscene Viewfinder, or the HDVF-C30W sony color viewfinder

Miranda DVC-800 downconverter

Astro WM-3005 onboard monitor / with a Noga Arm

Leader 5750 portable waveform, vectorscope, monitor

Sony 24" HD monitor

5mm, 7mm, 10mm, 14mm, 20mm, 28mm, 40mm, 70mm Digiprimes.

6-24mm Digizoom.

Sharpmax Back focus adjustment device

RMB-750 paintbox (for single camera shoots)

Sony AC-DN10 power supply

At least 4 Anton Bauer Hytron 150 batteries

Anton Bauer Quad Charger

4 IDX Endura 80 batteries (for anything handheld)

IDX charger

Clockit box

 

This is sort of the bare minimum package that doesn't include a mattebox or any sticks and the such.

[Elhanan Matos]

I forget what the paint box is called. I just know it has a touch screen, and is mounted in a wood rack unit

 

That would be the MSU-750

[Bob Hayes]

Thanks for the great info. Last year was primarily film but I hope to do more HD this year.

[Bob Hayes]

I noticed you guys all have down converters listed in your packages but no ntsc monitors. I also hear there is a 5 frame delay in the down converted images. Have you had any problems with this kind of delay?

[David Mullen ASC]

I noticed you guys all have down converters listed in your packages but no ntsc monitors.  I also hear there is a 5 frame delay in the down converted images.  Have you had any problems with this kind of delay?

<{POST_SNAPBACK}>

 

The downconverter box usually sits next to the big HD monitor and is mostly for other people that want an NTSC picture, usually the soundman who owns a little monitor, but also a script supervisor or video playback person who wants a signal to record.

 

The onboard downconverter is mostly for Steadicam. I don't know if the time delay is always the case with downconverted signals but I have had sound people and Steadicam operators complain about it.

[Kevin Zanit]

I believe most of the issues with frame delays are with the older pink onboard Mirandas.

 

 

Kevin Zanit

[Brad Grimmett]

I believe most of the issues with frame delays are with the older pink onboard Mirandas.

Kevin Zanit

<{POST_SNAPBACK}>

No, there's a delay with all of them. The amount of delay varies depending on which downconverter you are using. I think the range is between 5 and 10 frames. I've personally never felt like a shot has suffered do to the delay, but I know of many other operators who complain about it endlessly. I think it really depends on what kind of shot you're doing. I can't see how it would be a problem for anyone watching on a monitor.

[Kevin Zanit]

Ah, my mistake. I guess this is why I am not a Steadicam Op (among other reasons :D ).

 

 

 

Kevin Zanit

[Landon D. Parks]

If your shooting HD, I don't see a need for downconversion. One of the main reasons to shot HD for me would be seeing the HD signal onset. If I was to shoot HD, I would simply have a 55" Plasma monitor for me, and a smaller plasma as a sort of "Extra" for the less important crew to be able to see whats going on also. Of course an Onboard camera HD monitor too (Panasonic's 8" deal). And of course send a full Hd sginal to the Video Tech's work station.

 

As for the Video Playback recorder..... You MAY use a downconverter for him, since recording HD information twice would be a waste of time and money.

 

And for goodness sakes, give the Sound dude a HD monitor, It may not be really important for him to see the picture in HD, but It would probably make him happier than having frame delays.

 

Sorry, I know it woukd cost production extra money, but still. Your shooting HD, why display it in SD? And with terrible frame delays?

Edited January 21, 2005 by Landon D. Parks

[Kevin Zanit]

Because the onboard Steadicam monitor is not HD. It is a green, SD monitor for framing only.

 

Only one person needs to see a full HD image - The DP. I give the DIT a 24" CRT (although Elhanan wants me to take a LCD ;) ) and I will sometimes give the director a 24" CRT as well. The director usually gets a smaller SD or HD monitor with the controls turned off. Generally I will get the Director a 24" if I want to watch the takes with him and not the engineer so that I can talk about the shot with him, without sacrificing my viewing.

 

Sound's monitor is part of his package that he brings to set. Usually it is some crappy b&w monitor, once again for framing only.

 

The onboard is usually a nice Astro monitor.

 

The monitors that are taken will vary heavily depending on the budget and logistics of a particular show.

 

 

Kevin Zanit

[David Mullen ASC]

When you start paying for the rentals on multiple HD monitors for various departments, you'll understand why you need a downconverter...

 

Besides, many department members are renting their kit to the production which includes their monitor, like the soundman's monitor. On my last show, the script supervisor was receiving an SD signal into their laptop.

 

Plus, as Kevin mentioned, Steadicams need a SD signal.

[Elhanan Matos]

Landon have you ever had to carry a 24" BVMD monitor?

[Landon D. Parks]

If you shoot with the Viper, It has an HD and SD output for your viewing pleasure. Or at least thats what the tech sheet said:

 

In FilmStream mode, because there is no video signal processing,

the output on a monitor appears flat and with a pronounced green

cast. To view this output on set, the camera includes digital HD and

analog standard-definition monitoring outputs. You can color correct

these outputs using the color temperature switch on the camera, thus

creating an appealing HD-image for the untrained eye. This correction

has absolutely no effect on the FilmStream output, which remains

unprocessed and uncompromised.

[Landon D. Parks]

Landon have you ever had to carry a 24" BVMD monitor?

No, but I guess as I director I would not have to worry about carrying it. So it never occured to me. Should'nt that be the job a of a PA or Grip? And what are they getting paid for? To sit around? There job is to lift heavy things so we can use them. It can't weight a ton.

 

Just my view, of course this wont be the view of a P.A or Grip. :rolleyes:

 

Sure it would be a little extra weight, a little extra money, but production will just find a better way to waist the money or something we dont need, so we might as well have the best things we don't need.

 

I don't know about real expensive HD monitors, but I can get a 50" Plasma for $4,000.00 new. Rental may be a few $400 or so a day?

Edited January 23, 2005 by Landon D. Parks

[Guest Daniel J. Ashley-Smith]

but production will just find a better way to waist the money or something we dont need

One thing I have learnt is that theres never enough money. Especially to go throwing it around. With all the extra cash you save on using simple monitors e.t.c. you could maybe afford a few more days of lab work or a few more rolls of film.

 

George Lucas used plasma TV's on set, but then again his budget was around 300 million, so it's no wonder. (And besides that he's George Lucas)

 

Personally I'd be a complete tight ass about what we hire, use what we need, nothing more. It'd be nice to have all the gadgets, but sometimes you could spend that money on more important things.

 

Just my view, of course this wont be the view of a P.A or Grip.

Pha, who cares, from my experience PA's are the bloody rudest ones on set.

[Landon D. Parks]

again his budget was around 300 million

IMDB sais $100,000,000.00

[Guest Daniel J. Ashley-Smith]

IMDB sais $100,000,000.00

<{POST_SNAPBACK}>

Think I must have gotten confused with his ep.1

 

and even so, 100 million...

Edited January 24, 2005 by Daniel J. Ashley-Smith

[Kevin Zanit]

Wow.

 

Perhaps some of the most ignorant posts ever placed on this forum . . .

 

" guess as I director I would not have to worry about carrying it. So it never occured to me. Should'nt that be the job a of a PA or Grip? And what are they getting paid for? To sit around? There job is to lift heavy things so we can use them. It can't weight a ton."

 

No, a grip is paid to place flags, c-stands, nets, sand bags, build special rigs, or any of the other many light placing/ shadow making jobs that they perform.

 

I detect a total lack of respect from you towards your crew (in fact they are not your crew, they are the DP's crew - if you feel a need to be possessive about it).

 

These men and women are highly skilled workers who deserve more respect from you than you will ever know. Without these people, your "epic" film would never exist.

 

I know you are an Auteur and all, but trust me filmmaking is not a one man show (despite what Robert "do everything myself because I don?t know how to communicate what I want" Rodriguez says).

 

Just for information's sake, it would be the 2nd AC who is responsible for moving the monitor.

 

The point is, you don't NEED a 24" monitor for the sound man on every shoot. Especially if it is a film shoot.

 

Some of the greatest directors of all time just sat by the camera lens and watched the performance, rather than hide away in a video tent.

 

Talking about monitoring with the Viper on the set can be another story, but frankly that camera is so cumbersome (at this point) that I would be extremely reluctant to shoot a movie on it.

 

As a director, you should want to move fast - so you can get all your shots. On some shoots you don?t want to be hindered by large, heavy monitors.

 

Go use your cheap plasma to judge your HD image and see if your picture looks as you expected. It wont, that?s why we use $25,000 CRT monitors (and if the price is in fact more or less, please correct me as I have not memorized the price list of monitors).

 

Frankly, whether the budget is $100,000 or $100,000,000 the extra $100 a week is a real non-issue.

 

Kevin Zanit

[Landon D. Parks]

I respect all crew members, very highly in fact. But they job is to work for the production. If im expected to pay a 2nd AC $250/day, Intend to have him do the work Im paying him for. Rahter that invloves moving 1 montior or 40. $250 is the going rate right?

 

I never though about the steadicam operator, yeah he does need a down-converter I guess. Still, If im shooting with HD, I want a 55" Plasma Monitor. Rahter the sound guy gets a SD feed or not. I'll move my own monitor if no one else wants to do it. <_<

Edited February 28, 2005 by Landon D. Parks

[Phil Rhodes]

Hi,

 

Not all steadicams lack HD monitors, but they're horribly expensive and largely pointless as the LCD panels are rarely higher than VGA res anyway. The Varicam did seem to have a strangely laggy viewfinder, but the (NTSC, oddly) downconverted output wasn't bad enough to be particularly noticeable when operating either conventionally or on steadicam.

 

I only had a tiny 9" HD monitor, but it was OK for colour, and it had HD-SDI boards in it which kept things simple as regards cabling.

 

Didn't make a note of the number, but regretted the Canon lens they supplied which maxed out at 50mm (100mm with the extender) - could have been further, couldn't get it to do much with focus on the long end. Also they only supplied a 4" mattebox, and while I appreciate that a 4mm lens is going to be hard to cover no matter what you do, this did seem particularly poky. Next time I shall try to get involved in time to be more specific!

 

Phil