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Tim J Durham

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Everything posted by Tim J Durham

  1. I think it's worth the extra money to get the 302. It's more flexible and has a much greater resale market if you need to unload it. It is becoming the standard mixer for television news (in those cases where there is still a sound man) and field production.
  2. From http://www.nattress.com/Products/products.htm: I've shot a movie in 24p, but I need to include some normal NTSC video B-Roll If you are editing your 24p movie in a 24p (23.98fps) timeline then you can use the Standards Converter and it's G Film Converter plugin to convert your NTSC video to 24p. This will now integrate with the rest of the video on a 24p timeline. However, if you shot 24p with normal 3:2 pulldown and are editing in a 29.97fps timeline, then you can use Film Effects and it's G Film plugin to make your video look like 24p but with 3:2 pulldown added. I've used a couple Nattress filters and they work, but I've not tried this particular one. Good luck.
  3. Greetings, Sorry about the short notice but my friend has a 10 day documentary shoot scheduled for October 10-20 in Delhi (one day) then Hyderabad (8 days) and they are looking for an experienced sound man/woman. Pays$200 (USD) a day plus all in-country expenses which will include round trip air from Delhi to Hyderabad (or vice versa) meals, hotel, etc. Gear will be provided unless you'd prefer to use your own. Knowledge of Delhi and/or Hyderabad a plus. E-mail me ASAP for details. Thanks.
  4. One thing that frequently happens, if the computer is ON when you connect the firewire, it sends a small jolt of power that fries the firewire port in your camera. First, check to make sure your capture settings are correct. If they are, you may have a fried firewire port.
  5. You 'expected' someone here to have used a Nagra with an XL-2?
  6. From 6:00pm until the sun has set and it's completely dark, you are going to get a wide spectrum of color temp and intensity changes as the stadium lights begin to overpower the setting sunlight.
  7. I'm no audio expert but I think it should be the same quality as a DAT in 16 bit 48kHz.
  8. If I were doing it with a skeleton crew, I'd go with the SD302 into the camera. I'd also have a couple of Tram lav mics ($300.00ea.) and two wireless set-ups which can be rented cheaply. But I'm a TV guy.
  9. You should not have to mess with the ped. That camera has incredible dynamic range if you set it up properly. I've done many outdoor shoots in all kinds of weather and it is very forgiving. If you expose for an overcast sky, there should be plenty of subject detail to work with.
  10. The major difference is between progressive (720p) and interlace (1080i or 1080f) capture. Do a search. There must be 10,000 posts arguing back and forth ad nauseum, ad infinitum. Not just here, but all over the internet. Better yet, go look at the output of both cameras and decide for yourself. There is no substitute for seeing it with your own eyes.
  11. We have a HDW-730 which is switchable between NTSC and PAL. Is that not the case with the 750?
  12. Mitch, Is the Movietube really 10x better than the Red Rock Micro M2? The price differential would seem to suggest it is.
  13. Some great films I've seen recently, not necessarily for the cinematography so much as emotional impact: "The Boy who Plays on the Buddhas of Bamiyan" by Phil Grabsky: http://www.imdb.com/title/tt0398801/ "Searching for the Wrong-Eyed Jesus" by Andrew Douglas: http://www.imdb.com/title/tt0389361/ "In This World" by Michael Winterbottom. Not really a doc but plays like one and shot like one: http://www.imdb.com/title/tt0310154/ "Pripyat" by Nikolaus Geyrhalter: http://www.imdb.com/title/tt0194278/ There was another called "Land Beneath the Clouds- a Murder in Yunnan" or something like that. It was a Nat. Geographic presentation I saw a few years ago and it was amazing. Now I can't find any trace of it. Anybody else see this? It would've aired in 1997 or 1998. I'd love to get a copy if I could find it.
  14. I work with a guy that uses this and swears by it (rarely AT it): http://www.bhphotovideo.com/bnh/controller...egoryNavigation
  15. Hi, I do these set-ups frequently so the one thing I'd suggest FIRST is to arrange a very large room for the shoot. Producers never think of that in advance. Second, for a sit-down interview, I'd suggest you have a Firestore FS-100 for each camera so you don't have to stop every few minutes to swap out P2 cards (which shakes the camera and requires an extra person): http://www.focusinfo.com/solutions/catalog.asp?id=150 Third, hire a sound guy with a stereo mixer like an FP-33 so you can send both mics to each camera independently. Fourth, take daylight matched flo lights so you can take advantage of windows for fill if possible. Kinos or Lowel Caselites.
  16. It would be tricky. If you are in a totally dark room, opening the iris may produce no change in IRE. If you are shooting the sun, the lens closed down to f16 may already be at 100 IRE and any wider apertures may be clipped at 105 or whatever. I think it would be tough to come up with any useable formula as the situations would fall along some dificult to define point between those two extremes.
  17. I think the word you're looking for is 'agitprop'- a combination of agitation and propaganda. Michael Moore is often accused of producing agitprop, but strong opinions are the domain of documentarians.
  18. 'Rivers and Tides' by Thomas Riedelsheimer is a great looking doc. 'Little Dieter Needs to Fly' by Werner Herzog is another. The former was shot on 35mm and I suspect the latter as well. It can still be done. Errol Morris docs all have a great look. Check out 'The Gates of Heaven', shot back in the 70's and before he went to the more stylized approach.
  19. Most cars nowadays have lens housings which the bulb fits into. You can romove the entire lens housing, take the bulb out and pour some grey water-based wood stain in the lens housing, swish it around carefully so that it coats the entire front of the lens from the inside, then let it dry and put it back the way it was. You can't leave the headlights on for long as it will start smoking at some point. Test. Then when you are done, repeat the same process with water to get the stain out and replace. Or if you have to (it's a brand new car), replace the lenses with new ones. They're about $250 each, atleast for a Toyota they are.
  20. Oops. You're quite right. I had the wrong camera in mind. Not only that, even if I HAD been right, it wouldn't have answered the question. Sweet.
  21. If you can get ahold of "Writing with Light", Vittorio Storaro goes into detail about how he shot the film "The Sheltering Sky" which was shot in Morocco and Mali among other hot, sandy places. Very interesting, as I recall. http://www.imdb.com/title/tt0127979/
  22. Those adjustments can only be made in the engineering menus. You cannot set gammas and color matrix in the user menus unless you've mapped them there. You need to hold in the menu wheel while you power the camera up, then you will have access to ALL the menu settings. Be careful in there.
  23. I wish I'd thought to call myself Chowski. Does this new regime mean that all the Russian girls who posted looking for dates get to stay?
  24. Try a folded towel on your shoulder. It's more effective than any purpose-built pad I've seen.
  25. Who did the tests? Sony engineers?
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