John Morrison

yes they do have that tendancy :D we tell 'em to go to hell ;)

Thanks We are pinching pennies here. :) We're a mostly internal communications unit somewhere in between a news room and true production facility.

Just wondering if anyone out there has recycled their DVCPro tape? and if you do how many passes before it starts to get chunky. We are on 2 and things look pretty good so far ....

Hello, Have been kicking this one around with my colleague, We do a lot of industrial/retail work. Training videos, corporate message videos typical production stuff. We love the look of 24 p for our acted scenarios because of the cinegamma and the motion qualities it affords, we do not care for the motion when were shooting products on the shelves especially when we shoot eng style. So we're thinking 30p might give us a compromise so we don't have 60i and 24p in a piece, we think that looks... ummm, bad. We have done some tests and with progressive versus interlace resolution setting through this we've determined we like interlaced the best for our application. Are the cinegamma settings available in any setting other than 24 p ? The image in 30p more closely resembles the 24p than the 60i ?

I shot some 16 x9 stuff, for a project then later was told the project was to be 4 x3 , Ooops I marked the time codes where the 16 x 9 stuff was so the images could be letterboxed ,but the post guy just jammed it in the 3 x4 time line with out resizing the image and boy did it look bad. This is another area where coming from the video world you get your horizons expanded with this camera. Because man 16 x 9 is great to look at, at but it is an anamorphic image and to be viewed on a 3 x4 monitor needs to be letterboxed. So you set your edit system and monitor for 16 x 9 work in that environment but unless you're playing back to a 16 x 9 monitor you must lettebox the output or you have lots of tall skinny people on your TV.

Hey man, don't feel bad this is a brave new world for me as well, My buddy/colleague hates the way the 24p looks when we play it back 30fps. His issue is mostly with the motion and "judder" i believe they call it . It could be that we need to change the way we shoot and be less newsy and more cinematic, more dollys less pans. We've already had to really look at the way we light stuff, because the video "light it flat" looks like nothing in 24p land. So remember the only stupid question is the one not asked

So I dragged my wife to see Sky Captain this weekend and was surprised to see no mention of it here. The story wasn't particularly smart, but holy cow what great images, the vintage sound effects and the 30's film noire style lighting made this movie a vision to behold. I thought the acting and directing were spot on for re-creating the old style serial thriller. Not a bad way to spend an hour and a half plus. :) Who else has seen it and what did you think ?

thanks for your input Jason

Okay on to the scene file stuff. A lot of the trashy TV my wife likes looks pretty cool (Northshore, Hawaii ) These shows have a really vivid chroma saturation that I would love to ape :rolleyes: Now, I know they are shooting 35mm film & the resolution of film is vastly superior to video blah blah blah so save the lecture. I'm looking for folks who've had the time to mess around the 900's color matrix settings and know the short cut jacking up the color saturation. Lately, I haven't had time to really explore those menus. Has anyone found an easier way to push the chroma saturation, and if you have uh could you save it and e-mail it to me heh heh :D . thanks

Yeah, not doing wedding videos ;) , I work for rite aid corporation, we do higher end training and corporate message videos. I was thinking about 7grand would be all the corporate masters would permit after ponying up to buy the 900. What I have experienced ,and don't know if my post relayed this, is the weight of the 900 and the anton bricks really stresses the sachtler head . Our last camera was a sony 300 with np1s for power so the sachtler was dandy. Now if I'm doing any sort of tilt move, I get a little hitch when I resolve the move, not good.

Howdy, I have been using a 1993 vintage sachtler vision 20 head with carbon fibre 2 stage sticks. The old girl has be refurbished and there is some annoying play in the head on the most useable drag settings. This camera is almost 11 lbs heavier than our old camera and the play in the head is starting to make me look like more of a hack. :unsure: So I'm looking for a new rig, who has some suggestions.

That is different than my understanding of the 24pa mode. I was under the impression of that mode being used when one plans to post on a 24p timeline as opposed to the a 60i timeline. Did I misunderstand this as well ?

spot shooter is right on, make sure your gammas are set to the filmlook 1 or 2 setting, We use, with good results, the filmlook 2 setting, that gets you in the ball park, then it is a matter of looking at your monitor and tweaking those setting (and there are a gazillion of them) to what your eye likes best. Coming from a video background we are amazed at the detail now visible in the shadows, so I suppose there is a little perspective involved too ;)

I thought DVC-Pro50 was 4:2:2 color space. If your camera has the sdi option you can load the footage to your editor via the camera's sdi output. I agree will all those who've said not to transfer to digi-beta then to your avid, even though it all stays digital, the less stops on the journey the better. As far as the 24p for compositing it is a pain in the rear to reverse tele-cine the footage & then composite especially if the final product is going to wind up 60 i ntsc. The 30p may be the way to go to avoid the reverse tele-cine step.

thank you, I'll check that link out. I think ms publisher crashes my computer, (corporate compaq deskpro, 1997 technology ) :D