Richard R. Robbins

Hello Royce Dudley, I use my wooden O'Connor regular sticks, medium legs and baby legs frequently with my 50 head. I also have wooden Mitchell standards and babys I use with an ITE cam head when I'm forced to use a prompter... But I live in Omaha. nAnd you know what that means. By the way, when are you coming to visit? Rich

So, over the Thanksgiving holiday I visited my sister who has a new 50" LCD HD TV with the new 240hz scan rate and, especially with movies, I found it unwatchable. My wife had the same reaction. The motion looked all wrong...like some kind of videoy live look. Has anyone else noticed this or am I a little off? Now, college football looked great but dramatic content looked just not right. It occurs to me that I've watched movies on TV at 60hz with 3:2 pulldown for... a long time. I'm considering a new big TV. Can you make these new TV's run at 60hz? Also, what about these 600hz plazmas? Will they give me the same problem? Thanks!

Bump I originally posted this about the same time the viagra spam was infecting all of the forums. Thought it might have got lost...

Long time lurker, sometime poster would like Cinematography.com users in the LA area to know about and attend the screening of a feature I shot. Here's the text from a press release... On November 20 at 3pm, the independant feature film “For Love of Amy” will be screened at the Directors Guild Theatre in Los Angeles. The DGA Theatre Complex is located in the Guild's National Headquarters located at 7920 Sunset Boulevard, Los Angeles, California. “For Love of Amy” is the story of a black man (Michael Daye) who promises his dying friend that he’ll look after his wife and dying child (Amy), who is white. As fate would have it, the mother becomes incapacitated and he finds himself solely responsible for Amy’s care. When her family objects because he is black and his new fiance’ gives him an ultimatum, he is faced with the decision to honor his promise or give into the pressure around him. Vincent Alston wrote the screenplay and produced the film. Veteran actor, director and DGA member Ted Lange directed the film. Richard R. Robbins of Omaha was Director of Photography. The film was shot in and around Omaha, Ne. An all Omaha crew was utilized. Cast members include a mix of nationally known and Omaha-based actors. Alston plays a primary role, as the best friend of Amy’s father. Other cast members include Joyce Sylvester (“Clockin’ Green,” “Right to Remain Silent,” “Ellen”), Lindsay Seim (“California Dreamin’,” “The Sunday Man”) and Tyrone Beasley. John Beasley, star of “Everwood” and most recently appearing in Tyler Perry’s, “Daddy’s Little Girl”, also appears in the movie. Omaha actor Grace Bydalek plays Amy. Executive Producers are Sho Raiker and Sofija Novakovic. Website: http://www.forloveofamy.com Internet Movie Database listing: http://www.imdb.com/title/tt1147683/ Facebook page: http://www.facebook.com/pages/For-Love-of-Amy/103802660650 If you are interested in attending, I think I can get you on the list. PM me. Thanks for your consideration, Rich Robbins

I've produced a ten minute marketing video The specs on it are NTSC, 60i, 4:3. It was shot in DVCPRO50, 24p. The final output (distribution) media is a standard DVD. My client wants to use it in Europe and South America. I assume I will need a standards conversion (PAL and SECAM?). Any recommended vendors for this service. Do they want a DVD or a digital videotape master? Does the DVD country code come into play? If I get a standard video DVD back from the conversion house, can I replicate it myself? Also, help me get my head around this...if I post an NTSC video to YouTube or similar websites, will they play overseas on the web? I think so, but how does this work?

To those of you who attended NAB and have an opinion... What was your impression of the Panasonic 3700 and 2700? Both of these cams have a very interesting mix of features. Anyone get an estimate on costs? Regards, Rich

Is there any truth to the thought that you should shoot the foreground element in 30p rather than 24p? (especially when editing with a 29.97 timeline) Rich

I'll try to be helpful... Make sure that the sequence/timeline settings match the codec set-up on the deck. In other words, if the sequence/timeline is a DVCPRO50 sequence, make sure the deck is set to record a DVCPRO50 signal. The sam is true for plain old DVCPRO. If these settings don't match, you're in for a frustration fest. The settings in FCP are under FILE, then pull down to audio/video settings. The setting on the deck is on the menu page and alternates between 25 mgb and 50 mgb (I think...from memory). All that being said, however, you stated that you are at 720p which implies Varicam (HD), which needs an HD VTR. The AJ-sd93 is standard def only (DVCPRO50 or DVCPRO). Maybe you can change your sequence to SD? Good luck with finals.

bump?

Hello all, I know that this has been discussed to death in the past...however, given present technology, methodology, wizardry, etc. what's the best wayin October of 2007? Here's the deal. Back in June, I DP'd a indy feature ("For Love of Amy" - forloveofamy.com) using my SDX900 and shooting DVCPRO50-24pa. It's presenty being cut on FCP. I know that soon the following things will need to happen. 1.) color correction 2.) sound mix 3.) up-rez to HD (DVCPROHD? - Varicam?) 4.) transfer to HDCAM the standard film fest format. color correction, what are the options, besides the limited tools within FCP, or, who has a good reputation for this and how do we provide it? sound mix, needs limited ADR and effects and a mix using original music Up-rez, what's the best way? Internally in FCP? Can we outsource for this? transfer to Sony HDCAM, who's the best resource for this? Any thoughts would be appreciated... Regards, Rich

John, Thanks so much for your reply. I must have been asleep on the day they discussed this in video class. Today, at the beginning of the shoot, I black balanced as you suggested and to my amazement the dead pixel went away. Does this always work? With all CCD cameras? Anyway, thanks again for your reply...if you ever get to Omaha, I'll buy you a drink. Rich P.S. Thanks for this forum and website!

During a shoot yesterday, I think I discovered a dead pixel lower left of center. At first, I thought it was a lens flare, then a spot on the lens. However, I couldn't get rid of it. It shows up as a white speck, even with the lens closed down. In 20+ years of shooting, I've never had this problem... Any suggestions? Is there a fix built into the camera through a menu item, or do I need to see a tech.? And if so, where in the central midwest would you go? Any opinions about Fletcher in Chicago? Jan Crittendon, where are you? Rich

I find this topic very interesting because I occasionally m forced to shoot under these industrial type lights. I'm hoping that someone with accurate information can explain the differences between... 1.) Sodium Vapor 2.) Mercury Vapor 3.) Metal Halide Of course, as they relate to production on video and film. What are the differences in color quality and light quantity? Rich

Thanks JD, I think it's time to order some bulbs... Rich Robbins

Hello, I'd like to make sure I understand this information. It certainly has sparked my interest. More light for less power seems like a good thing. As I recall, an FCM is a dual-socket bulb (long and tube like) that fits in intruments like the Lowel tota, the Mole 2k zip, some of the nook lights and some of the open face fixtures (Colortran), generally 1000 watts. Or is the FCM the dual-post bulb that filts in focusable lamps like a Mole Tweenie or a Midget, generally 650 watts? In any case, are these direct replacements? Also, when you mentioned the PAR 64 bulbs, are you refering to PAR 64 tungsten bulbs for the Molepars or Altman rock & roll lights? Are these new lights replacements for these tungsten lights or are you refering to HMI's? By the way, what is the color temp. of these new bulbs? Thanks, Rich Robbins