Mike Pasky

I had just posted this in the SDX900 subforum, but after seeing that people check this main forum much more I posted it here as well. I apologize if it was wrong to post in both places. ----------- Hello, I am in the process of planning a multi-camera shoot of a rock concert. We will be using an SDX900 for the WS, two DVX100A's for CU shots, and to make things more complicated 2 Sony PD170's. The last time I did a shoot like this we used 3 DVX100A's, which was great because I was able to pick my favorite scene file settings and just load it onto all 3 cameras. I uploaded some clips of that concert here... I already know how I plan to improve the lighting for the new shoot, so I am really just posting this hoping for recommendations on scene file settings. I know that Panasonic has listed a scene file for the SDX900 to match the DVX100 or DVX100A at http://www.panasonic.com/business/provideo...cene_select.asp, but this seems like a pretty bland setting, and if I use it I don't want to be stuck setting the DVX100A back to the default scene file 5 unless I really have to. Also, I'm assuming this SDX900 setting is based on shooting in 25Mb/s DVCPro, and I definitely want to shoot in DVCPro50. So, if anyone has suggestions for the scene file settings for both the SDX900 and DVX100A for this shoot that would be greatly appreciated. Since it is a hard-rock/metal band I'd rather go for a more stylized, contrasty, and potentially over-saturated yet look than something bland and "safe". Also, as I mentioned I am throwing 2 Sony PD170's into the mix. The concert I shot before (in the youtube clips I listed above) I shot in 24P to a get choppy, out-of-control look as all cameras are constantly making subtle snap-zooms. I would like to shoot in 24P to achieve that again, but I believe that having the extra cameras will prove more valuable than being able to shoot in 24P. Currently I was planning to put both PD170's on the stage shooting back towards the back of the band and revealing the crowd because I'm hoping it won't be as jarring when cutting between the Panasonic and Sony cameras if they are shooting in opposite directions. I am not very familiar with the Sony PD170's scene file settings (or whatever Sony calls them) so if anyone also has suggestions for how to set these cameras to match the more stylized look I am trying to achieve with the Panasonic cameras that would also be greatly appreciated. This will be edited in FCP, and although color correction may help, I would much rather find a way to make the cameras best match at the shoot, because it would take a long time to color correct a full 1 hour concert. Thanks in advance, Mike P Chicago west suburbs

Cool stuff. This was helpful.

Awesome! Thanks so much Dickson...I really appreciate it. I just finished going through the Memo Deal. ...And yeah I realize now that it would be too early to ask for part of the money before shooting anything. Now I'm thinking of asking (changing the Memo Deal billing section) for half the money upon completion the first long weekend of shooting and asking for the other half upon completion the second (and last) long weekend of shooting. Does that sound better/smart? I've never met the director/producer before so I figure that might be a safe way to go.

Hello, I am going to be DP'ing a 16mm short (2 long weekends of filming) film other than one of my own for the first time. I have DP'ed DV and HD projects before (pro bono) and have shot my own short 16mm projects but this will be my first paid gig as a DP on a (student) 16mm film. The director and I have agreed on a set pay rate for the entire project and I have told the director I will send him an informal agreement in the next couple of days. I was thinking of saying in the agreement that I require half the money when I arrive on the set and the other half at the end of the last day of shooting. Does that make sense? Is that standard (or close to it)? If that sounds like a bad idea please let me know what any of you think would be a better idea. Thank you in advance. Mike abstrusefilms.com