Jan Crittenden

This is best done by someone who understands the mechanism and the adjustment. Take the camera to an authorized repair facility. They should be able to help. Best, Jan

Hi Thomas, The files on the Panasonic site are for an NTSC camera. I don't know that anyone in Europe has done the same thing that we did here. I felt that if I could get people close to a starting point they would have courage to take the camera to where they wanted to go. That was what these files are about, a starting point. So you are right, I believe, in that ,the color that these settings would produce would be incorrect and frankly I don't believe that these will be read by a PAL camera. But then we did only save the color and paint menus. So perhaps a call back to Panasonic Europe and they may be able to refer you to someone. Best regards, Jan

John, I have had a customer go a full year on ten tapes. He did off air recordings and kept them 24 hours, then he just recorded over them. Never had a problem. Our lab analysis has found 300 passes to be perfectly fine. I have a tape from 1996 that still plays as pristine as the day I go it and it has seen many trade shows. So suit yourself. Best, Jan

Hi, First sorry for the delay, I have been out of the country on a Honeymoon. ;-) Paris, Tuscany, Amsterdam, nice. Anyhow as Noah said, any corection you make will not affect the Firewire output, as it is leaving the deck before the proc amp, per se. I would say transfer and correct in the NLE. Hope that helps, Jan

Hi Tim, Sorry for the late reply, been out of the country on a Honeymoon. ;-) The answer is like Mitch suggested, it isal electronic. There are filters on the bigger cameras that help to deal with color temperature issues, but in general those are more of a light intensity aid than whitebalance, although that is how they are marked. The CCD doesn't care as long as you can control the exposure. As an example with the SDX900, I can white balance outside with the camera filter wheel in 3200K, camera does not care. If the light outside was too hot, it would and white balance would fail. As far as the presets on the scene files those are set for a color temp with a little override on color for more natural colors, like the flouro setting. Hope that helps, Jan

Hi Jason, If this footage is going to mix in with other 60i footage then just import and edit, no need to extract at all. Be aware of where your edits are so they are not on the cusp of a combination frame, i.e., the BC or CD frame. These will look odd. Hope this helps, Jan

Hi, Look at the following site: http://catalog2.panasonic.com/webapp/wcs/s...eries%20Cameras Try on the Resources tab the Download site and then look at the EyeBall or the Vivid settings. Follow directions onthe site for download. Hope this helps, Jan

Actually the way that 24PA works is that there is a composite frame, one field from one frame capture and one from andother frame capture. ie: AA BB BC CC DD This makes for a very odd look if edited in 60i, so as David said it is designed for 24P extraction and not 60i editing. Standard 24P would be the method to shoot if you were not going to remove the 24 frames and edit in 60i. This capture and pulldown looks like this: AA BB BC CD DD This is much smoother for 60i editing. Hope this helps get you back on track, Jan

Hi David, You might want to take a look at the video gamma mode you are in. The Low might help you a bit on this shot. Also check your knee setting and drop to Low as well. This will change the contrast range of the image as is is played out in front of the camera. Hope that helps, Jan

So where are you going to be shooting? NY? LA? Perhaps we could point in a positive direction on your rental. Best, Jan

Did you get a reply? If not let me know, I can supply a couple of names. Best regards, Jan

Have you looked at the scene files on the SDX900 website? http://catalog2.panasonic.com/webapp/wcs/s...eries%20Cameras Look at the bottom and click on the Download Scene files. Have fun! Jan

In reading these posts about the 24P looking jumpy and not smooth but the 30 i cut looking fine, my bet would be that the 24P was shot at standrd 24P and the problem arose when digitized into Express Pro. The Avid only knows how to extract 24PA. So if the video was shot at 24P the pull down goes AA BB BC CD DD. in 24PA the video goes AA BB BC CC DD. So if you use Express Pro you need to shoot in the 24PA or the 24P extraction will net you real garbage as it will be trying to extract from the 24P cadence with the 24PA cadence. This would net a very strange looking piece. The fact that the footage looked fine before digitizing, and the fact that it looked fine posting it in 30i, are my clues that this was the problem. 24P or 24PA both work very well and if I were shooting in either and looking to do a film out, I would extract before editing. The 24PA is just easier to extract and on the firewire systems is the more common cadence to use. The downside of it is in the shooting as it doesn't look as smooth as standard 2:3. However after shooting it you get used to it to the point that you really believe that you cannot see the difference between 2:3 and 2:3:3:2. Don't worry about it looking odd on the monitor as the edit systems put a 3:2 backinto the monitor stream. Now to comment on the blow up to 35mm. I have seen it done well and I have seen it done poorly. Be very careful about adding too much detail on the DV footage, you can sharpen in High Def Post. The best blow up I have seen was the film November. They did an upconvert to HD and then did a Laser Print of that. Hope that helps, Jan

The Varizoom does indeed work with the DVX100A. Best, Jan

Hey that is the same source of supply as I have. But I make my template up in Word and run them off there. HOpe that helps, Jan

Phil, It will not flickr, it will just have too much res for video, so the resolution is that if you do shoot it this way you need to filter in post to lose some of the vertical res or gain it back later in Hd up res. That's all. Best Jan

I think the question does not reference whether it is interlace or progressive capture, but rather there is a setting in the camera for V. Res and its choices are interlace or progressive. If you are shooting in 24P/PA or 30P the camera can record 480 lines of vertcal resolution. This is great for film-out work. This is the Progressive choice. The problem is that when you shoot for video release aka an interlaced display, the TVs can only show 360 lines of v. res. Any more can turn into excessive aliasing, or what looks like odd noise. The Interlace function of the v. res choice rolls off the vertical resolution to about 360 lines. This is the same set of choices as in the DVX100/A v.res called Thick or Thin. So here is his question, does he deal with the excessive aliasing for his video release? My answer is that if he is going to up-res to HD for his vestival release, the I would shoot with the Progressive. If not, then no, and that way when and if it does get picked up, you can in the up-res add some detail in the HD suite. Reactions? Best regards, Jan

Hi, Apparently with the serial numbers that have the letters THB in the middle of them, the methodology changes. Turn your camera off, Turn the Color Bars/Camera Switch to Bars. Hold the ABB switch on while you turn the camera on, then do the light button and menu button as described above. Hope that helps, Jan

Hi, I locked, ulnocked and locked and unlocked, each time coming out of the menus. It all worked as planned. I can only suggest that you send your camera to me and I will have my service group figure out the problem, unless I can first. Is this your camera? Do you have a Goodman's Guide? Say Hi to Roger Macie for me. Contact me off list at crittendenj@us.panasonic.com . Please let me know your full name, phone number and address in the email. Best regards. Jan

Don't think so, I'll ask the guys in the shop tomorrow, but the purpose of the function is not to be easily bypassed. ;-) Tomorrow, Jan

Hi Dow, Try again. Hold the light button down. just momentarily push the Menu button. Release the light button. Just did it on my camera, should work for you. Key is the Momentary button push on the menu button. Hope that helps, Jan

Hi folks, My feeling on this is that you need to try the little box that Mitch offered up. There really is no way to change the location of the Time Code. For a while there I was begining to doubt my initial post but I didn't have a camera to play with. Then the post from Evan that quoted the Robert Goodman book saying that it was possible. Well I now have a camera and I have Robert's book and what Robert was referencing was Time Date data, not Time Code. There is no way to change the position of the Time Code Display. Sorry, Jan

Hold the light button down, then do a short push on the menu button and it should open the security menu for you. Hope that helps, Jan

That is a great article. Abel has several of those on their site. There is another one that features Andy Young that is wonderful.

Hi MItch, Glad to see you stopped in. Come on back any time. Best, Jan