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M. Vian

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About M. Vian

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    2nd Assistant Camera

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  1. Hi I have a shoot coming up where I'll be using the Panasonic HPX 500. Most of the show will be shot in 60p for slow-motion effect. Unfortunately we will be finishing and doing all post in DVCAM (30p over 60i base system). But the capture will have to be done at 720p to use the ramping capabilities of this camera (even though it also shoots in SD, varicam style ramping only works at 720p). So here are my questions (I have never used this camera): 1. If I'm shooting in HD mode, at 720p, can I set the camera's SDI output to SD-SDI? This way I'd have the camera do the downconversion in real time, has I shoot, and hook it up to a DVCAM deck with SD-SDI input. Tape it to DVCAM tapes, and hand them to the editor. He could then do an offline, and later an online. The project has to be ready one week after production, so speed is an issue. 2. Would this downconversion be good to become my new "master"? Or a "post" downconversion would be better? (there's no budget for this, but I'm curious!) 3. Also, if I'm shooting at 60p, would a real time downconversion work for slow-motion speed? Since the DVCAM deck is always at 60i, would I have to play the files off the the HPX-500 after shooting them, to lay them on a tape? Or would the SD-SDI output give me a real-time feed of the 60p turned into 30p (60i), hence slowing down the footage? My question basically is: would I be able to be recording the shots to the deck as I'm shooting them, ot would I have to do that later to preserve the slow-motion? 4. With an SD-SDI connection, does the DVCAM deck run in its own, like with a firewire system? This way as I'd press REC on the camera, the deck would start recording automatically... With timecode and sound, like with a Miranda? My ideal plan would be to have the camera connected to a DVCAM deck at all times (soundstage, so cables will be easier to deal with), downconvert the footage on set (preferencially in real time, but it could also be AFTER the shot is taken because of the slow-motion), keep a copy of the P2 cards in a hard drive for safety, but basically use the camera only as a "feeder", and the deck as my "capture" device. Sounds like this can work? Thank you for any help. M. Vian
  2. I got a call back yesterday, and I have my interview this Friday (the 23rd). Oh, and I'm flying to LA this Thursday for it...! crazy stuff... Anyway, I only got a call back yesterday, and when I scheduled my interview, there were still a lot of openings. Maybe it isn't over yet...! I'm crossing my fingers for you guys. I'll be staying in LA until Monday the 26th, so if anyone wants to meet for coffee it would be great! I have no idea what to expect from LA (I went there when I was 12, but all I can remember is Disney Land... :unsure:), and I'm guessing I'll be kind of lost all the time! It would be nice to meet other applicants and fellows from AFI. Good luck everyone! M.
  3. Hello everyone! I got a call today! Unfortunately I was driving in the freeway, returning from a shoot, and I couldn't hear a thing (I was driving the camera truck!), couldn't pull over, and it's illegal to answer your phone while driving!, so I had to ask to call me later...! So far I haven't had a call back, but I'm hoping it'll come soon! I screamed like crazy when I hang up the phone...! This was around 5.30 PM in Portugal (9.30 AM in LA).... So now I just have to wait (a little bit more!), but I'm hoping it's good news! Good luck everyone! Martim
  4. Anyway it's good to know that none of us got the call... I guess they haven't started them yet... or I hope so! That financial aid package, did you request it? Or they just sent it? Does it say anything about International students? :) Good luck!
  5. That makes two of us! While reading the posts on this thread and the info on the AFI webpage I get the feeling the phone calls should be happening about now... So I'm anxious too! Where are you applying from? M. Vian Forgot to say, I'm applying from Portugal, so I'm hoping I have the time to plan a trip to LA in case I get the call...!
  6. Hi, thanks for the replies! I also think it is really difficult to have both the day-for-night and the flashlight, cause the flashlight would have to be much brighter than the daylight... I will try to shoot the shots with the flashlight visible at dusk (I can go back to same location for 2 days, so I can use the best hour for those shots... and then, the close-ups and other shots without the flashlight visible, I can do them in brighter hours, and underexpose them... If they look like the other shots (in terms of background and subject lighting ratio), I can cut them togheter, since the flashlight shots will create the contrast and the viewer will not "adapt" his eyes to the underexposed shots... I dont know if I made myself clear on this... I hope you understand what I mean... And about the 12v. bulb... Does anyone know what kind of battery I would need to power it? 12v 18Ah should be enough, right? Since these bulbs are used in households, Im not sure of the power they need... if it is 50W, 12v, I need 4.1 Am I right? Sorry and thanks again!
  7. I forgot to say that the short won't have a final print, everything will be finished on video, so I can ajust a few things there. Thanks
  8. Hello all I'll be shooting a no budget short in 1 week and a half, 16mm, where I have a night scene in the woods. Since I have no way to power lights in there, I decided for a day-for-night. The problem is that the caracter is holding a flashlight. I'll be using Vision2 500t, and I'll be underexposing the woods at about 2.5 to 3 stops (I still have to test it with still camera). Since I'll be underexposing it all, the flashlight that the guy holds, needs to be really bright... I'd like to have it's light hitting the trees close to him and be well exposed... Wich means that my flashlight has to give me enough light to make it 3 stops brighter than the ambient light in the woods... I thought about the Xenon flashlight, but they're out of my budget, and the short is in Prague, so I wouldn't even know where to get them here. I also thought of getting a pocket par 150w, and try to power it from a car, but the actor will be running, so cables and heavy batteries sound bad... So now I have two solutions left, I think: I could shoot all this scene at an hour that the light in the woods is down (just before night), and then the flashlight would be visible, but I know that this won't be enough for all the shots the director wants to make... Or, I thought about rigging a 12v lamp in a flashlight, like I read about here, but I really don't know how to power it... Any suggestions that are not heavy batteries? Or any other suggestions? Thank you! M. Vian
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