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About redbaron

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  • Birthday 10/30/1977

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  1. Was at a conference where both Panasonic and FOCUS had booths. I asked them these exact questions. Answer is yes to both. Focus Firestore will allow you to access the media just like you would on a P2 card and view the clips on the camera LCD...not on the Firestore, which would be cool...but then its a portable media device (out of the product's scope). As for the PCMIA slots...P2 can go in an PC or Mac slot...like on the powerbook. From what I've heard they still need the driver for the powerbook though...so at present time, no...can't put in pb PCMIA slot...will be quite handy when it does.
  2. What would be a typical way to achieve the horizontal OR vertical lens flare effect often seen in Music Videos? Is it a post thing or is it done with a filter? Often looks like a cross filter but the light goes either vertical or horizontal. Thanks
  3. Great ideas...what kind of wattage are we talking about for these types of light situations where light is basically being shined directly at the camera. I don't want them to be too overpowering and kick off tons of flare. Typically Flood or spot? Thanks
  4. Any ideas on constructing a light wall that might go behind a band? The catch!...LOW BUDGET. First thought is build a frame and attach lights to the frame, link and control. Also, I want it to be controlable. Just wondered if anyone has experience with something like this. Something like this... Low cost is key. Thanks!
  5. It can work with all of that...variable speeds and 24p. FCP is ready to go with the 24p but you'll need this to convert the over/under footage: http://www.panasonic.com/business/provideo/support/fcphd.asp I'm going to be shooting with it tomorrow and when I first started my research I had the same questions. Creative Cow has a Varicam Forum and there are A LOT of postings regarding the 1200a and FCP. Some people have good experiences and some don't. From reading most of the posts it looks like user error, people not setting up the camera correctly and recording or capturing in the wrong format. I've been asking a lot of questions lately leading up to this weekends shoot, so I'll be sure to post my exeriences.
  6. How advisable is it to mix the frame rates on tapes? Does anyone have any stories, problems or insights? We'll be shooting a MV over two days at 24p, 48p and 60p. We'll be posting on FCP via firewire and converting the overcranked footage using the software FRC. As long as we slate on set and change the capture setting to DVCPROHD 720p60 when we capture overcranked shots we should be fine, right. From panasonic's instructions the FRC needs footage shot at 59.94hz and captured at DVCPROHD 720p60; as long as you got that, you're good to go. I would like to avoid changing tapes all the time. Any thoughts? Thanks!
  7. I would start by reading all the posts here relevent to the Varicam. Then go to the Varicam Cow and you'll have more than enough to read. I can't provide the specific comparison you're looking for but I believe I've read about it. From what I hear and read the Varicam overcrank is the next best thing to film. Shooting with it next week and looking very forward to it.
  8. I'm fairly new to HD and will be shooting with the Varicam next week. In researching and reading the manual and I've noticed the filters are 4300 and 6300 as opposed to 3200 and 5600 on most other video cameras (there is 32k aswell, but...)? Is it just giving a warmer overall tone? Can someone break that down for me. Thanks!
  9. I would love to go with either of those cameras. But as it stands now, my choices are between the Sony 700 and Pan 100...given that scenario what's the opinion?
  10. Here's the question: I'm an active DP that shoots primarily with the Panasonic DVX100 in 24p. In shooting an upcoming music video I have the opportunity to shoot with the Sony 700. Should I use the 700 over the 100? As far as I'm concerned the only drawback to using the 700 is that it doesn't shoot 24p. Second question wuold be: does anyone have any experience making footage shot on the 700 look more film like? If so, what was your process...plugins or something else?. (aside from shooting and lighting as you would with film) I'm starting to think this is a no-brainer because the 700 will give me a longer lens, better depth of field, greater exposure latitude, greater sensitivity and a higher res image. We really want a "film" feel and the DVX is good at eaisly achieving that. Any thoughts? Thanks
  11. Yes...the DVX is pretty fast, although wide open it was still really flat. I needed something to break it up. I wasn't aware until about half way through the shoot that there was a panel beside the buttons that had two AC outlets. We are shooting there again for some other scenes...the lighting can be different so I'm going to run the power up the corner and hang it. I ended up getting four 12" fluorescent battery powered fixtures at Home Depot and replaced the bulbs with a soft white to get rid of the green. They actually did pretty well, considering it was a 10$ light. I really wanted some sort of rim light and taping them to each wall about 8 ft up provide that and a little fill. We're shooting again next Monday, so I'll keep you posted. Thanks for the input.
  12. Ok...great suggestions...using polecats was my first intuition, then I thought, "how am I going to get power up there. Your idea about proping the door open is right on...I can probably run power in from the hallway. One side of the elevator, door side, is ALL mirror...we'll see how that goes. I'll keep you posted...we're shooting tonight. Thanks.
  13. Anyone have any experience or advice for lighting an elevator with high cielings (15ft)? Digital short, Pan DVX. Its going to be tight, four actors, 2 man crew. Any riggin suggestions much appriciated.
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