Shaun Kendall

We have a client that has asked us to create a computer-controlled remote camera system for them. They have a warehouse where they would like to mount a camera on the ceiling, be able to control zoom, iris, focus, etc. from a computer and take very good quality photos.

So, I need some suggestions on a camera, or camera system, with software to control everything from a computer.

Thanks.

Is there something about a recan that complicates things? I work at an advertising agency and we just finished a six day high-speed shoot and finished with over a dozen recans left in varying stocks. It can be frustrating to load magazines that don't get used, but it's best to have loaded mags and not need them than to need them and not have them.

Well, it's best to have as few recans as possible because the production company can sell back unopened cans at a much higher rate than recans. The same goes for short ends.

Thanks for that info. I've been wondering about inventory sheets. The inventory sheets I have lend themselves very well to figuring out the numbers, but at the very bottom there is a section on how many full rolls you have left at the end of the day.

This doesn't really work if we're using both 1000 and 400 ft. rolls, because let's say we have 4, 1000 ft rolls and 10, 400 ft. rolls left. That would be 8000 feet total, but I wouldn't be able to indicate how much of that was 1000 ft rolls and how much was 400 ft rolls. On the last shoot I was on I simply filled out a separate inventory sheet for each stock and each roll size (even though there isn't any place on the inventory sheet to indicate the roll size, I just wrote it in next to the film type). We were only using two different stocks, but I ended up with 4 inventory sheets each day.

Is there a better way to do this? Are there some inventory sheets out there that separate the roll sizes, or should I just try to create one myself? I know some loaders use either a laptop or PDA and print out the inventory at the end of the day, but I can't afford that right at the moment.

Thanks for the help.

I've loaded on several shoots, but there are still things I've run into that I can't seem to find the answers to. I've read the The Camera Assistant's Manual, Fourth Edition by David E. Elkins, but his information on loading is pretty small. It's not the actual loading that's the problem. I know Arri and Panavision mags pretty well, and I know I could learn to load any mag out there. The problem comes in the paperwork and other small details, like mag labels, etc.

Are there any really good books out there that go in-depth about loading, specifically? I'd like to find one that goes into specific problems or situations you may encounter on a shoot. For example, I was asked to load on a low-budget shoot where they were using only short ends they had purchased at a reduced price. Even though they say the film was "lab tested" I don't want to be blamed if there's something wrong with one of the rolls. Even though everything came out fine on that shoot, I'd still like to know how I should handle that situation.

Another thing is ways to reduce the amount of recans you have at the end of a shoot. I like to have back-up mags ready, but on a couple of shoots I've been on I wasn't informed when we were getting close to the last shot and I had to recan several mags.

Little issues like these are what I'd like to learn more about, so any source of information would be greatly appreciated.

Thanks.

Shaun,

I bet Phil can answer that easier if you defined what you mean by "better"...

 

Ergonomics?

Resolution?

Image Control?

Final Image Quality?

Ease of use?

 

Which 'better' is most important to you at this point?

By better I mean quality (final image quality). I can deal with the other issues.

What do you guys think of the JVC GY-HD100U?

Thanks

Hi,

 

Having seen them all side-by-side on high grade monitors, I have to say that the HVX is probably my last choice on raw picture quality. Mainly, that's down to noise, which would appear to be a direct tradeoff for the variable framerate functionality. The pictures, give or take progressive scan, were utterly eclipsed by the XLH1.

 

Also, it's a complete waste of time to shoot 1080 on the HVX; the chips aren't even 720, so you're just using the same space to record the same data spread out over a larger compression radius!

 

P2 is utterly, utterly horrible to post as well - a complete abortion of an idea and a completely unforgivable vandalism of MXF which we are now likely to be stuck with for some time.

 

Phil

Phil, what HD camera would you suggest (under $10,000) that would be better? I'd like to use the camera to shoot a feature (which I know I'd be better off renting a 35mm or 16mm camera, but I'm wanting to purchase one since I'd also like to use it for future films and projects).

Thanks,

Shaun Kendall

I'm thinking of purchasing an HVX200 and was wondering if it is a good enough camera to shoot a feature that would have the possibility to be transferred to film and shown in theaters. From what I understand, if you shoot in true HD you can transfer it to film and still have very good quality. I assume that 1080p would be sufficient for this, but I'm unsure on that point.

I know there are adapters available for the HVX200 that would allow you to use 35mm lenses with it, so I could rent those.

Just wondering if this camera would have the ability, or if it's really only good enough for television/DVD.

Thank,

Shaun Kendall

Ive shot alot with an SR2 and yes there is an attatchment which will automatically turn the aperture on your lens and ramp the camera at the same time. Its designed for an SR3 but Ive used it twice now and it works with very little perceptable shift in exposure ( Although admittedly it wasn't %100 but easily gradeable I found and only to my eye I expect). I dont know the make I used but if you wish I can find out.

Yes the mirror is fixed but in my experience its fixed at 180 degrees though I was shooting for PAL tv so this was what I was after, no electronic shutter unfortunately.

There are also some great attatchments from the 35mm range that will work well in a SR2 like timelapse and digital tachometers, Ive done some great timelapse with an SR2.

Actually from memory we may have had some problems attatching the shifting unit to do with having to shoot at 24fps but I cant really remember it was last winter since that shoot and the asst set it up. Worked out well though. Even used it on steadicam for extra effect.

Hope this helps,

Sasha

If you wouldn't mind finding out what the attachment you used was, it would be very helpful. It would be a lot easier if we didn't have to ramp, pull focus, and adjust the aperature all at the same time, manually. Also, are there specific lenses that you must use with the attachment (i.e. smart lenses) or will any lenses work?

Thanks

I'm going to be using an Arri SR2 for a music video shoot and just wanted to know if I needed any special equipment in order to ramp the camera from 24 to 60 fps. I've used an Arri Studio and Lite as well as an SR3, but this will be the first time I've worked with the SR2. I'm not sure if I have to use a manual speed control box or if there's a programmable one available like the one used for the Studio. As far as I know there's no way for a speed control box to compensate the shutter angle on the SR2 (I believe it's fixed at 180, but I'm not positive on that), so are there smart lenses available for the SR2 that would automatically compensate the aperture, or do you have to do it manually?

Thanks for your help.