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monster vs robot

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  1. You're going to need more than 2 4gig cards for sure (rent or buy) 2 8 gig cards get you about 17 min. @ 720p so then you need to wait to download them to laptop or P2 store. This will slow you down significantly and can cause a break in the shoots flow. I shot a 3 day doc and was constantly downloading-not a fast process. I had 5 8 gig cards and 1 4 gig and 2-60 gig p2 stores and I could barely keep up. granted it was just myself, but then you have to have complete faith if you choose to have an "AC" dump the stuff. P2 Genie and P2 log (google it) is amazing at streamlining this process and for 33 and 99 USD. You'll need some large and fast drives to dump you're gigantic files to and a laptop. I would seriously look into the workflow before jumping in like I did. The whole thing is an orginizational nightmare. Many people in PDX are shooting HVX, but no one at the camera rental houses or post houses was any help when it came to troubleshooting. EXAMPLE-If you are on a Mac you must hit a three button combo to allow a P2 store to format to Mac. THIS IS NOT COVERED IN PANASONIC'S MANUAL! Look at some of the Wide Angle adaptors that Century offers (around a grand) I'd say TEST as much as you can. It gives gorgeous images but also sharp pains in the chest when you go to reformat the cards and drives to reuse. Good Luck
  2. Has anyone noticed that the HVX has a delayed reaction in the auto focus mode? I tested my camera in good daylight and still it has up to a 2 sec. delay when in full zoom. Is this just mine or has anyone else experienced this? thanks!
  3. Here's a link to the AICP contract:http://www.aicp.com/doingbusiness/scpa.html If you're a one man band this will cover your butt and if you are a shooter for hire you could adapt some of the language to meet your needs. I have started using this and I htink some clients will find comfort in the fact that you're following a well respected organizations standards. pierre
  4. Some other freelancers (commercial artists, graphic designers) can wait 90 days for payment. That would really suck. The longest I ever waited for a check was for a job as a PA-70 days and guess who it was from? Phil Knight, not Nike, but his personal account-$175.00. I guess it took that long for a secretary to put it in front of his face. At that point I almost kept it for framing. If the production company or producer you're working with is working to AICP standards they're getting 50% up front. You can always ask for 50% payment up front too, particularly if you're giving a rental and have the remainder as net 30. The whole arrangement is fluid.
  5. First of all, congrats on having the guts to put your work out there...it's not easy. I would concur with previous comments-seems long. From an editorial standpoint there were several shots that I thought didn't work in the cut: -Shot of you -A man leads a woman to a corner by a bookcase. Seems a little sourcy from a lighting perspective. -The kiss outside a trailer. -Woman in a dark maroon suit walks across the room with a bag. I personally think if you lost those and trimmed the sci fi action stuff to the absolute best stuff, It would be more engaging and leave them wanting more. Good Luck
  6. monster vs robot

    Lens mounts

    I actually have 2 Beaulieu 4008 ZM2's and wanted to use them professionally for shooting sports. I bought a Arri PL Mount to C Mount adapter from Les Bosher in the UK (google it) for them so that I could get good 16mm glass from the rental house. This cost around 250 and I rented a fast Zeiss zoom for a football game.($95) To my surprise, the lens did not yield significantly better images than the Schneider zoom that is stock. It is a very good lens. I also have a Bolex RX5 and have put many Switar primes on the ZM2 and they are very fast and sharp, as well as reasonable in cost. I'm sure there is higher end glass I could have used, but the expense would buy a Switar for the day rate. Don't forget the cost of the insurance policy for the rental as well!
  7. In my opinion, Harry C. Box's gaffer book is a far better book that covers many other aspects of production including gripping.
  8. Looks like the Marshall is it. Gotta spend money on a Matte box, sticks etc...always something thanks!
  9. Thanks for the responses. Matt, excuse my ignorance as I'm new to HD, but I currently have the Sony 9L3 field monitor with the optional BKM-120D SDI Input Board. If I add the Aja box for, say 600.00 I'd have a useable, "what you see is what you get" HD field monitor. Would that be correct? Thanks again, pierre
  10. Hi, I've heard of several people liking this monitor. Anyone use this with an HVX and happy with it? Any help is appreciated. pierre OVERVIEW - Marshall vr70phdsdi 7 inch Wide Screen High Res LCD Monitor with HDSDI Inputs: The Marshall V-R70P-HDSDI represents leading edge technology in LCD imaging for broadcast and Professional video applications featuring our High Resolution, TFT-Megapixel screen with 1.2 million pixels and completely digital signal processing. All SMPTE/ITU serial digital video standards and frame rates are accepted and displayed on this model. All video formats are scaled to fit on screen in the highest resolution using a state of the art LSI that incorporates 4 ´ 4 pixel interpolations with precision Gamma correction to produce the best images available. Each screen is calibrated to SMPTE standards for gamma and color temperature). FEATURES - Marshall VR70PHDSDI 7 inch Wide Screen High Res LCD Monitor: * Durable metal enclosure * "V" Mount battery adapter included * Runs 4 to 6 hours on optional 50WH battery * High Resolution 7-inch wide screen 800´480 Dots with 1.2 million pixels * Optical Grade polycarbonate screen cover with Antireflective/Antiglare coating * 100% digital processing * Analog signals converted to 10 bit digital * High resolution scaling of all images * Wide viewing radius - 130° horizontal and 120° vertical provides superior visibility when the viewer is not directly in front of the screen * 380 candelas per square meter (cd/m²) luminance produces enhanced image quality in varying light and viewing conditions * 400:1 ratio of contrast between black and white luminance values with response rates less than 30 ms results in excellent quality for moving images SPECIFICATIONS - MARSHALL V-R70P-HDSDI LCD MONITOR: * 4:3 and 16:9 screen aspect ratios * Automatic NTSC/PAL format detection * standard inputs: HDSDI/SDI (Smpte-292M/259M) 4 Pin XLR D.C. power jack * Easy to see three color tally indicators * Built in Color Bars * Blue Screen for color adjustment * Adjustment Settings Memory * Includes ¼-20 mounting plate that can be attached to any edge of the enclosure (additional mounting plates available) * Includes universal voltage Class-2 power supply * Fits into Tektronix WFM7F05/1700F05 rack adapter * Optional rack mount kit
  11. I've seen both sides of the fence. I went to Art school-almost as bad as going to Film School. I have to agree with one of the previous posters saying it's all about networking and your fellow students. I learned more from my friends and classmates than I did from the instructors. After graduation and $50,000 in debt I began working in a video store. All too familiar to people. I risked it and decided to make a low budget feature, which cost me another 4 years of my life and $22,000, which I borrowed and worked off by pumping portable toilets. The thing about Art School (I'm guessing Film School as well) is that they tend to deal in theory, craft etc... try telling your Landlord or Phone company all you know about color theory or Eisenstien as a form of compensation. Through my film I came into contact with industry up-and comers and eventually through those contacts made inroads into the commercial film business. I learned more by making a film than I would have in a Masters Program- for the same cost. If you graduate from Flm School and haven't knocked them dead at festivals odds are you're starting at the bottom. Today, when I hire a PA or a Grip or a DP, I don't care if they went to college or not. In this business you are judged on your abilities and personality. I have never been asked if I went to film school by anyone. I hate to sound like someone's parent, but you seriously have to look at how you can pay your bills while you're writing scripts and shooting shorts. Have a backup plan of attack either way. Good Luck!
  12. Well, I am a newer shooter and I just got done reviewing the footage from an athletic training video I shot. I was wearing a few too many hats on this one: DP/DIRECTOR/PRODUCER...but, that's no excuse. I type this as I'm about ready to kick the chair from under my feet(kidding) Seriously, there's several shots of stands/lights in the background and I am just ashamed. I did adapt over the course of the shoot to make corrections, but when you lump in lighting, blocking, coverage etc...under duress, it is brutal. Fortunately I have control over the edit and can make it work,but I guess I need to feel better by hearing your horror stories on the job. Lay it on me-please.
  13. I'm looking for a couple of good 2K dimmers that don't cost an arm and a leg. Any suggestions would be appreciated.
  14. New Guy Question:Regarding the FILM REC or VIDEO REC in the CINE GAMMA SEL The Goodman Guide states, " FILM REC produces images that have less contrast when viewed on an evaluation monitor. However, the actual contrast of the final image can only be properly judged after the image is output to film and a print is made of the negative. Cinematographers may prefer the look of FILM REC because it provides a wide tonal range from the shadows to the highlights. VIDEO REC provides what you see is what you get results when the image is viewed on an HD evaluation monitor." SO, Am I to understand that the benefit of shooting FILM REC when you are NOT going to a film out, is that you get good tonal range and with the intention of color correction in Post? Also, In what situations would you say this is the most useful as it sems you could run the risk of having to explain why it looks a little flat to a Producer.
  15. You can deduct those things as an individual(sole proprietor) becoming an LLC or Corporation provides additional protection to you and your personal assets in these structures.
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