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Jeff Regan

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About Jeff Regan

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    Cinematographer
  1. Panasonic's product manager, Jan Crittendon Livingston has tweeted that the US list price of the AG-AF100 is $4995.00. This will have implications for Sony EX1R future sales and isn't that much more than a Canon 5D MkII w/HDMI portable monitor. Jeff Regan Shooting Star Video www.ssv.com
  2. Dolph, You're right. I have an HPX2700 and I have to go the long way for the last thumbnails as well. Jeff Regan Shooting Star Video www.ssv.com
  3. Gavrosh, That depends upon the look you are after and whether or not you want to "bake it in" on set vs. post. The best starting point would be to download "Digineg" scene file that is set up for REC 709 color using Chroma Du Monde chart, this will give you proper color points for primaries and secondaries. Beyond that, any scene file available from Panasonic is an aesthetic choice based upon what serves the look you are after. Remember, if you go for a real stylized look in-camera, you are committed to it vs. shooting a flat, neutral setup that would lend itself to post grading and color correction. I don't think Panasonic offers downloadable scene files for the HDX900, last I checked. You could, however use HPX2000 matrix and color correction values for Digineg to get you pretty close, I would think. http://www.panasonic.com/business/provideo/scene_files.asp?model=HPX2000 Jeff Regan Shooting Star Video www.ssv.com
  4. I think it depends on which Panasonic cameras you're speaking of. When it comes to codecs, DVCPRO HD and especially AVC-Intra 100 are superior to 4:2:0 Long GOP formats. Intra is 10-bit, 4:2:2, full sample, I-Frame, 100Mbps. You've got to step up to HDCAM SR to get that with Sony, about a $100K difference vs. HPX300. Most Panasonic cameras are CCD, which are not as sensitive, usually not full raster, and not as quiet as the newest CMOS sensors. CCD's do not have CMOS rolling shutter artifacts, however. Regarding ergonomics, it is hard to imagine a camera with worse ergonomics than an EX1, and when I think good ergonomics, RED does not come to mind either. I'd much rather shoot with a proper ENG camera like the HPX300, 500, 2000, 2700, 3000, 3700 cameras. The 300, 2000, 2700, 3000, 3700 do not pixel shift. The 300, 3000 and 3700 are full raster 1080 cameras. For around $8K, the HPX300 offers full raster, 10-bit, 4:2:2, I-Frame, 100Mbps recording. If you want any of those things, you've got to spend a whole lot more with Sony. The new HPX370 will be better in low light and have less noise than the 300, while keeping the superior AVC-Intra 100 codec. Jeff Regan Shooting Star Video www.ssv.com
  5. I think Panasonic will provide some answers at NAB. I fully expect them to embrace full raster CMOS cameras going forward. The HPX370 is already their second generation full raster CMOS camera. I have sources who tell me that Panasonic will show a large sensor AVCCAM camera at NAB--this could be 2/3", micro 4/3's or? Jeff Regan Shooting Star Video www.ssv.com
  6. Frank, I had an HDX900 and currently have an HPX2700. Advantages that an HPX3700 would provide are the native, full raster 1080/1920 CCD's vs. native 720X1280 CCD's of the 2700. Disadvantages of the 3700 would be no shooting over 30 fps(no over cranking), a bit slower in low light, higher power consumption, no 720P modes. The 2700 and 3700 have Film-Rec up to 600% dynamic range, which records all the latitude the CCD's can provide. If you use DRS, this will override any other gamma, including Film-Rec. DRS 1, 2 , 3 are dynamic versions of Film-Rec as far as highlight handling, ie; DRS 3 is the same as Film-Rec 600% for highlights, but DRS changes shadow detail scene by scene. Film-Rec and DRS can lower sensitivity a bit and add a little noise, but the latitude of Film-Rec 600% with AVC-Intra 100 is 10-11 stops. I sometimes use black stretch with Film-Rec, which is similar to what DRS would provide for shadow detail. Leave High Color off if using Film-Rec. Panasonic 2/3" cameras tend to be optimized for Asian skin tones, and are a bit green and cyan deficient. It is best to use the matrix and color correction circuits, along with a Chroma Du Monde chart and HD vectorscope in expanded mode to set correct color points for REC 709. Or have someone email you scene files if the camera you're using is at factory settings. With the 2700, if I want to do off speed easily, with ramping during a take, I set a User switch for VFR and a second user switch for Frame Rate, and preset one for 24 or 48 fps, another for 48 or 60 fps, depending on what effect I want. It is important to set the shutter at a fractional rate of 1/60th or 1/100th vs. 180 degree or half so that you don't see an exposure change when changing frame rate during a take. Jeff Regan Shooting Star Video www.ssv.com
  7. I have had good results using our Letus Ultimate and B4 Pro 2/3" relay lens with Nikon 35mm SLR primes and HDX900, HPX2700. Less chromatic aberration issues than with many HD ENG zoom lenses, less focus breathing as well. Unlike 2/3" primes, the 35mm DOF adapter will give you the shallow DOF of 35mm Academy size frame. Downsides would be some light loss, some softening, size and weight, complexity. Our rental clients have been very happy with the results and I have done side by side testing with the P+S Pro35/Zeiss Super Speeds with comparable results. Jeff Regan Shooting Star Video www.ssv.com
  8. After owning a 2700 for three months, I can certainly say I am more impressed than I expected. I didn't expect the camera to be such a step up from my HDX900, but it is. Film-Rec up to 600%, DRS 1-3, AVC-Intra--a true progressive, native codec that doesn't have to be limited by compatibility with legacy tape formats. Fast, ASA 640, 10-11 stops latitude in Film-Rec 600 with AVC-Intra 100, the tonality and colorimetry that Panasonic and the original Varicam is known for, except cleaner and much more information is recorded due to 10-bit depth and full sample, square pixel codec. I heard from a DP who was about to buy a 2700 on Dec. 30th, to be in time for the trade-in deal. He had sold an HPX3000 and now wanted a 2700. I feel that the native 720P CCD sensors are kinder to talent and faster than the full raster CCD's in the 3000, 3700. Again, it has that Varicam look that so many DP's find to be amongst the most film like of any 2/3" video camera. Anybody buying a P2 Varicam, should consider attending Varicamp, it is a great way to get the most out of the cameras. The co-instructor said that the 3700 should not have been called a Varicam due to its lack of overcranking ability. It's the 2700 that is the true successor to the original Varicam. Jeff Regan Shooting Star Video www.ssv.com
  9. Yes, and the 2700 and 3700 now have 600% Film-Rec and Video-Rec gamma options, which allows the entire dynamic range of the CCD's to be recorded in a linear fashion. I just returned from Varicamp 2.0 and have more respect for the P2 Varicams capabilities, as well as AVC Intra, a fantastic codec. AVC Intra is the first native, progressive codec Panasonic has produced with no legacy tape compromises. Jeff Regan Shooting Star Video www.ssv.com
  10. Steve, Same situation with my 2700 and HA18X7.6, CAC is not making a perceptible difference, neither did it help an XA17X7.6, although that lens had less CA error. I've seen CAC work well with HPX500 and low end Canon HD zoom, as well as with HPX300 and included low end Fuji lens. Was really hoping to see the circuit do some useful error correction. Going to Varicamp next week, will check out 3700's and 2700's there for CAC improvement. Jeff Regan Shooting Star Video www.ssv.com
  11. Have you selected an HD resolution and frame rate, such as 720/60p or 1080/24p? Jeff Regan Shooting Star Video www.ssv.com
  12. Yes it's true. The FS-100 must have firmware 4.0 to record P2 or QT Native. Final Cut Studio 6 is required for Quicktime Native. It works well with my HDX900, but I always back up with tape. It is stable, but vibration can cause dropouts. The FireWire cable can get loose or unplugged. You can pickup used FS-100 100Gb models for around $1K, so that's not much more than a single 16Gb P2 card, while having six times the recording capacity. I have two FS-100's and while I normally use P2 cards with my HPX170, it's a great option for a long form project. P2 is more convenient as far as form factor, very reliable, but the FS-100 can be a viable option depending on the types of projects you do. Jeff Regan Shooting Star Video www.ssv.com
  13. The sensitivity is different at 720p vs. 1080p, from my quick tests. The EX1 was down 1/2 stop in 720/24p vs. my HDX900 with shutter at half and gain in -3db in both cases, 1 1/2 stops down at 1080/24p. The ISO on the HDX900 is 500, but it's noisier than an EX1, so one could gain up to +3 and still have a clean image with the EX1 and improve the sensitivity. Jeff Regan Shooting Star Video www.ssv.com
  14. Thanks for the screen grabs Ralph. I look forward to seeing a stream of your short. I'd like to hear how your DSR-450 has worked out for you, both in dramatic shorts(compared to your DVX 100) and day to day bread and butter jobs. I would also like to talk to you about using a 35mm DOF adapter designed for a 1/3" camera on a 2/3" camera. I like your idea of using a Fuji 20mm prime as a relay lens and would like to know if you have tested it. The Brevis 35 looks interesting to me, along with the Red Rock M2. Here's a stream of a video I shot at the Bonneville Salt Flats with the DSR-450. I think it looks like a '70's 16mm documentary: 24P Sample #1 Here's a trailer for a feature by DP Dan Schmeltzer shot with my 450 and a Pro 35/Zeiss Super Speeds: 24P sample #2 Jeff Regan Shooting Star Video www.ssv.com
  15. Michael, I find the D30, D35, and DSR-500, 570 cameras to be inadequate as far as camera control parameters. The DSR-450 has a completely different user interface, it uses a menu wheel like the broadcast cameras such as newer Digital Betacams, and HDCAM. The 450 has an incredible array of menus and setup options, more like a broadcast series studio companion camera than an industrial series camera. The flexibility of setup options of the 450, plus the one million pixels per chip and multiple film gammas separate the 450 from any of the previous Sony industrial camcorders. It compares favorably to the SDX 900 in many areas, IMO. Jeff Regan Shooting Star Video www.ssv.com
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