Adamo P Cultraro

Well I suppose the HPX500 is a better narrative cam for the price compared to an HPX2000 - but it's moot to me since the next cam after my HVX will be a RED.

I think that as the price of the panny cams goes up - there really are diminshing returns on the bigger models, especially as a narrative filmmaker. Who the hell is really going to notice the picture on an HPX2000 being radically better than my HVX. I shot the F900 on many projects and I'd say the pic quality of the HVX is 90-95% of the F900s for a fraction of the money.

The only reason I'm buying a RED is the price per value ratio compared to cameras like the HPX2000.

Except for the fact that the HDX900 is an orphan now. You'd be a fool to buy that cam over an HPX500. Same functionality, no tape.

I have an HVX200 - it's a camera that's used interchangeably on the show 4400 with an F900 - you can't really tell. Plus, it has p2 recording capability and variable frame rates - something the HDX900 doesn't have.

The HDX900 seems like a dinosaur now that the HPX500 is out. I'd take an HPX in a heartbeat. I'd never go back to tape....it's dead.

If you want SAG actors your production must be a SAG signatory. I say your production - not your company. Example - you decide to make a short film - that short film must come under a SAG agreement to cover the talent.

Sure, a SAG actor can be naughty and just work for you - it's really his problem not yours - but he faces a host of trouble from SAG.

Actually, my wife is a SAG actress and I use her all the time in my stuff without asking SAG. I figure if I have to check before I film my wife SAG can go piss up a rope. But she could get in trouble, theoretically.

An Amazing case, but as usual, zacuto is pretty proud of their prices.

IMHO you can light all you want but if you aren't filiming at 24p/30p your stuff will look like video, plain and simple.

Why not jus do this in post? Most NLEs have this capability. In Sony Vegas for example, use a glow and then tint the glow to the color you want. Apply a 25% B&W effect and voila....dream sequence. Most of the Illusionist was simply post work anyways.