Jump to content

Scott Imler

Basic Member
  • Posts

    49
  • Joined

  • Last visited

Everything posted by Scott Imler

  1. Ya we have that capability was just curious if a hand squeezer would work as well.Sounds like it won't. Thanks Phil
  2. Hi We have a number of Led Panels that all have built in dimmers. We are rigging them into a grid thats 12 feet above our heads so we wanted to control/dim them from a lighting board and /or with some hand squeezers. The plan is to place the built in dimmers that are on the lights at 100% and then dim remotely from the ground.Any reason why this would not work. Was curious if they will flicker or possibly damage the panels in any way? Thanks guys.
  3. Hi We have a number of Led Panels that all have built in dimmers. We are rigging them into a grid thats 12 feet above our heads so we wanted to control/dim them from a lighting board and /or with some hand squeezers. The plan is to place the built in dimmers that are on the lights at 100% and then dim remotely from the ground.Any reason why this would not work. Was curious if they will flicker or possibly damage the panels in any way? Thanks guys.
  4. 1200.00 dollars more and I already have the Samurais not a great solution.Plus I like the wieght and size of the Samurai No fan either quieter and less power consumption.
  5. Care to elaborate?? I hope it involves a method to roll remotley with a LANC line so you do not have to have tape in camera. I know we can roll from the unit its self but thats not practical when handheld. My understanding with the 2 lanc ports is currently you need 2 cables to "complete the circuit" One is the lanc line with a remote roll button that goes into the Samurai in lanc and then a second one that goes from the samurai out lanc to your lens. I am not sure if Cannon EFP lenses are compatible with this set up? IT sems like they should have made this possible with just one cable with a remote button on the Lanc In????? I like the unit but this is one area that I am still not happy about. Remote rolling with no tape in camera! Thanks Bob will await the firmware upgrade.
  6. Hi we are shooting a multi camera series with Pansonic HDX 900s .Our producer does not want to record to tape so hence the Samurais. So we want to record only on the Samurais but have a question about jam syncing our time code so all three samurais have the same timecode. I know we can jam sync the cameras and then send that time code to the Samurai. My question is if the cameras are on free run can we still stop/start the Samarai or will the running time code from the camera trigger it to always want to record???? IN other words we cant stop the recording on the Samurai??? Is that a true statement?? I read on line that the new firmware now allows the Samurai to be triggered with "SDI recording flags" which is independent of timecode? If that is the case I assume that in order to use that the camera will need a tape in it which we are trying to avoid as we will end up with hundreds of shot tapes we do not need. I guess in a nutshell my simple question is can we jam sync 3 of the Samurai units with out having to record on tape in our HDX 900s.
  7. SDX looks are not transferable I own both cameras.
  8. Actually Freya thats the wrong camera it HDX I need not the SDX
  9. Thanks http://ospreyhd.com/
  10. Scott Imler

    HDX 900

    Hi anyone out there have any leads to web sites that offer set up looks for the panasonic HDX 900. They had a great one for the SDX I have seen "Ospreys" but wanted to know if there were others out there. I have a few of my own and some others but am always looking for new looks. TIA Scott
  11. Hi any one who has any experience with shooting 3D with the HDX or other HD video with either a beamsplitter or a side by side rig. I would like to find out about a few things.We are shooting a multi camera concert and wanted to know some of the limitations. Example stop loss if any? Rolling "on air focus"? Distance to subject from camera?.I understand that there are limitations depending on the set up or which of the two rigs you are using? Basic set up time and learning curve to get comfortable with it? There will also be a jib and I wanted to know if it will have to be modified for mounting and what its limitations might be?? If any of you have experience or have dabbled with this pass on your thoughts.Thank you Scott
  12. Thanks Rob for the info. Was not a double post but a reply to the cheap leko reference(:
  13. Three dollars for a Leko Light is that a typo that seems super cheap to me??
  14. Need a small package consisiting of some c stands a few lekos and some blacks. We want to rent this as we are flying with other gear. Does anyone have a list of some rental houses in New York that they could recomend. Want to get the stuff in one place . Some places do not always carry the lekos but have everything else. Thanks guys Scott
  15. Shooting in New York doing some small interview stuff etc. I need to rent some c-stands and a few lekos and some blacks. Things we are not flying with basically. Would like to get the above items in ONE place. Anybody have a few they can recomend. Thanks Scott
  16. We are shooting what will be an hour and a half concert which will start around dusk prior to sun setting and continue through magic hour and will probably have the last two or three songs in darkness. I have a few approaches to this but am curious what some of you have done in similiar situations. I do not want to get into changing color temps in cameras We are shooting HD. Stage will be facing sun. The one drawback is time ,the concert must almost be non stop other than some very quick tweaking between songs at the cruicial times. All lights will be run through a board and. are dimmmable. Have used spotlights in past for this as main key light but may avoid that this time. Will probably cheat the white balance in the high 3000s and leave it . Would like to stay with tungsten for the majority of this as opposed to HMIs.
  17. Thanks for the reply I think we will go the 24P route
  18. Hi I have a client in the UK that wants some footage shot here in Canada. I will be using my SDX 900 which is NTSC. Once he receives the footage he will be converting to PAL. What is the best Frame rate to shoot this at to make the transfer as easy as possible. For now this is just test footage and the actual project will be shot with a PAL camera but for this we do not want to rent and ship a PAL camera in .
  19. Well Red heads come in 650 and 1 K so i am not sure which one you arer referring to. I would say that the KINO will be more efficient in that you can get it closer to the subject with out it being in the shot where as a bounce you have subject, light then bounce card . Its further away I also think the Kino is a nicer look.
  20. Can you elaborate on this more I am not sure I fully understand what the camera is doing to get to 1080I How does it differ from say the Sony F-900 s 1080I
  21. In the HDX manual it shows the various formats that the camera can shoot in. They are broken onto two categories System Mode and Camera Mode. System Mode shows if yoiu are in 720 or 1080 mode while Camera mode shows 60I, 24P, 30P etc. I understand that breakdown but am confused about the following . It shows that you can shoot 1080I at 24 P for example so are you shooting progressive or Interlace I am confused by the two co existing? Later in the same chart it shows you can shoot 720P in 24 P as well. So whats the difference other than 1080 vs 720. I hope I am clear Thanks
  22. If you do not know the history of the camera it is always safe to do a head cleaning before shooting. They do have a head cleaning cassette for that purpose. In your case I would doubt that you would need to clean again during a 4 day shoot.(It can be hard on the heads if over doen) Als the SDX has a built in headcleanind wheel that engages briefly during tape threading and I believe various intervals during recording.It eventually need to be replaced as well.
  23. Were you seeing this in the viewfinder or the monitor? It may be a monitor problem in that it was not able to handle the extreme contrast of the dark flag against the white wall.Did you try recording and playing it back and watch it in the viewfinder or another monitor as the B/W viewfinder may not show the change.The auto knee may have been compensating as you moved the flag in and out. You would have to turn it off and do another test to confirm it.
  24. Hi GUys this is a question or comment sent to me by an editor after we shot some footage in 24p 2:3:2 pulldown which he thought was shot in 24PA 2:3:3:2 pulldown. If it makes sense to you can you help him out with his confusion. We are going to test in both modes to help him but in the mean time if anyone identifys with his question feel free to write. Heres his e mail to me:
  25. Found the mystery menu setting no need to reply Thanks
×
×
  • Create New...