Jason McKelvey

I'll bet they didn't put 24P in it cause it would hurt Varicam sales!!! Jason

If you shoot something at 60i, it will look "real"... like looking through a window instead of a monitor. The 24P gives it a dream-like, not so real effect, having a different temporal resolution. Anytime you can make it look less like a news feature, you're headed in the right direction. 24P helps this tremedously. Jason

I went to the serious gear website, but it wasn't working right. Anybody else sell that "British" matte box? Jason

I looked at Cavision 16:9, 3 stage 4x5.6"... but they couldn't promise that there wouldn't be vinetting with our lens. Too bad, it's only about $1200 WITH a follow focus attachment. The Chroziel 801 is just way to expensive. I want at least a 2 stage where both rotate and 15mm rails and follow focus attachment. I have done searches in both this website and google to no avail. Thanks, Jason

Thanks David, I guess I had it backwards in my mind... I thought one looked better than the other. Jason

If one uses the 24P advanced mode, will it still edit ok if it is kept 60i? Or, do you have to do a 24P timeline if you use the advanced mode? Why do I ask? Well, it could all be in my head, but it seems to me that when I record in 24PA mode, the temoral resolution looks smoother when I play it back out of the camera to a monitor... I know, it's probably in my head. By the way, I final got to shoot some product shots with talent for an insert to our TV program the other day using 24P, 16:9, 50mbs... all I can say is WOW, this thing is incredible. I used the VIVID preset from the Panasonic website, preset white balance, 5600K (4300K was accurate, 56k made it warmer) 1st ND position, adjusted gamma and master black a bit, 1/48th shutter, 0db gain, shot wide open with a Canon 21x7.5 HD lens with indirect sunlight coming through a large window. Absolutely beautiful. DOF was all of 1", I have to get a follow focus. I'll go as far as to say that most COMMON watchers (not professionals) would think it was good 16mm film. There... I said it. Jason

Thanks guys. Sincerely, Jason

Yes, I searched the archives, but application to the lens wasn't descriptive enough for me... I'm very visual. Jason

I have an SDX900... what's the best way to apply a net to the back of the lens? I've heard something about rubber bands??? Jason

I apologize, I had a bad day... my local time on my stats page is correct... I don't know that you can alter it. Good day to you and everyone. Sincerely, Jason

Does anyone know what they are using to shoot Rescue Me on FX? Looks HD-ish. It's that Dennis Leary fireman show. Thanks,

This will make THE best wedding videos though, you have to admit. I'll bet you within a year, most of TLC will be shot with this camera... all those "Trauma" and "American Chopper" rip-offs. Jason

We own a Canon HJex21x7.5 HD lens and I'm not really happy with the breathing. I wish I could have seen if the Fuji was better at the breathing problem. Other than that, it's is very sharp through the whole frame and has an anti-ramping feature that puts an electronic end stop right before the lens falls off at the end... nice feature; plus custom programmable zoom curves. There's a tiny LCD screen on the lens where you program all this with menus. All this I'm sure is on the wide-angle version in the same line. For what it's worth,

How can you misspell the word "what" (wut) in your first post, then say this: You can spell "resolution" correctly? If you are so uniformed, how do you know what a telecine is? Your poor attempt to sound like a thick-accented foreigner is so transparent. Please don't waist the valuable time of these great (and patient) guys. Sincerely,

I've been burned by zebra... I think it's about as accurate as auto iris. Jason

John your right... I should say that the 24P monitors flickered. Too fast panning/tilting of 24P cameras results in skipping or strobing. Thanks, sorry for being sloppy. Mitch Well said. Jason

Are the current ones on right now S-16? I've been watching the old ones on Bravo. Jason

Got it, sorry. Jason

Wouldn't the background be larger on a wide-angle lens... being that a "wide" angle lens shows more than a telephoto? When I zoom out to the wide side of a zoom I see more, not less of the background. I love your explaination of equal DOF yet different amounts of background (& forground) focus, but do you have it backwards? Don't long lenses yield less background detail? Respectfully, Jason

This is from the IKEGAMI website for the HDL-240C: · Native 720/60p, 1080/60i or 1080/24p operation available for HDL-40C And also Native 720/60p operation available with cost effective HDL-240C x1solutions say in there press releases that there adaptors effectively act as a 2x extender, only using the middle part of the lens (they claim this is the "sweet spot" of the glass and makes the image look great)... I'm prone to believe what they say about the 2x effect, but I've haven't used one yet. I hope to get a demo in the next few weeks. Only using the middle part of the lens... would that help with aberrations? These guys supplied the adaptors for "28 days" which was shot on an XL1 with 35mm primes. I know the DV actifacts looked horrid (no pun) but the DOF was better and did help it have a different look, if not very film-like. As far as xl1 footage (no comparison to film), I thought it looked pretty good. Jason

If you use Lowells buy lots of black wrap and leather gloves. Those suckers run hot!!! Arri Softbank IV is my favorite... but a bit pricey. I don't care for the economy line from Mole Richardson. I agree with Michael Nash, Omnis and Ds are best to work with. My 2 cents, J

Thank you, David. Sincerely, Jason

Thank you, David. Sincerely, Jason

Does anyone know what exact filter is used on the West Wing? It doesn't seem to soften the overall picture too much, but has unique highlight flares. When I use a Black ProMist 1 or 2 I get the highlight flares I like, but it softens everything else too much. Thanks, Jason