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barryagilbert

Looking For 4:4:4 Camera That Goes Out to Tape

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I'm an LP putting together a commercial shoot in NYC and the creative team's ideal camera would shoot native 1920 x 1080, 4:4:4, and record to tape. Shooting against greenscreen.

 

Hard to keep track of all the new cameras, does such a model exist?

 

Thanks

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I'm an LP putting together a commercial shoot in NYC and the creative team's ideal camera would shoot native 1920 x 1080, 4:4:4, and record to tape. Shooting against greenscreen.

 

Hard to keep track of all the new cameras, does such a model exist?

 

Thanks

 

No.

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I'm an LP putting together a commercial shoot in NYC and the creative team's ideal camera would shoot native 1920 x 1080, 4:4:4, and record to tape. Shooting against greenscreen.

 

Hard to keep track of all the new cameras, does such a model exist?

 

Thanks

 

Hi,

 

Thompson Viper, it's been around for 5 years but could only record 4:4:4 to tape since HDCAM SR came out. A newer camera would be Sony's F23.

 

Stephen

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The Sony F23 and Panavision Genesis are the only 4:4:4 HD cameras with built-on/attached HDCAM-SR tape decks.

 

You can use an external SRW1 HDCAM-SR deck with cameras that send out 4:4:4 HD using dual-link HDSI, like the Thomson Viper, Sony F950, Arri-D20.

 

HDCAM-SR is the only 4:4:4 1080P HD tape format currently.

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The Sony F23 and Panavision Genesis are the only 4:4:4 HD cameras with built-on/attached HDCAM-SR tape decks.

 

Hi David,

 

I am informed it's possible to attach the SR1 to a Viper.

 

Stephen

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Learned something new.

 

So none have it directly on the camera, but there is a method of doing it with some.

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Learned something new.

 

So none have it directly on the camera, but there is a method of doing it with some.

 

Hi,

 

Not very different to the (BCSP) Sony BVP 3,5,7's etc where the recording unit could be exchanged and the camera used with a CCU. IIRC the Camcorder only units started about 15 years ago with the DVW 600/700 series.

 

Stephen

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There are small data recorders like the Venom or Panavision SSR that can be attached to cameras like the Viper or Arri-D20. They record uncompressed 4:4:4 1080P.

 

But I've never heard of mounting something as bulky as an SRW1 HDCAM-SR deck onto a Viper. Cameras like the F23 and Genesis have half the unit -- the processor half (SRPC-1) -- built-in to the camera so you are just mounting the tape drive (the SRW-1).

 

But a camera like the Viper would have to have both halves (SRW-1 + SRPC-1) mounted, which would be quite awkward and heavy, when you could just cable to the unit. There is a photo of the unit here:

 

http://pro.sony.com/bbsc/ssr/product-SRPC1/

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That's very interesting, thank you. I think the Genesis is probably overkill for my project - I've been interested in working with the F23 so maybe this will be my opportunity.

 

Does anyone have any experience/comments on that camera? I know it was used for the exteriors on Cloverfield.

 

Tx, BG

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That's very interesting, thank you. I think the Genesis is probably overkill for my project - I've been interested in working with the F23 so maybe this will be my opportunity.

 

Does anyone have any experience/comments on that camera? I know it was used for the exteriors on Cloverfield.

 

Tx, BG

 

if you don´t need tape you could also mount a data-recorder like the MegaCine to a cam (like viper, d21 or so).

 

but i never used the f23 so far, but it seems to be a nice cam. you can also do slow-motion stuff with the srw-1 attached.

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That's very interesting, thank you. I think the Genesis is probably overkill for my project - I've been interested in working with the F23 so maybe this will be my opportunity.

 

Does anyone have any experience/comments on that camera? I know it was used for the exteriors on Cloverfield.

 

Tx, BG

Yes. I shot a test/narrative scene with it last fall out of All Mobile Video here in NY. I am only now in the process of getting it (and a bunch of other stuff) up on my website. I love this system. The dynamic range is excellent. The color is great as well. Picture wise it's everything you would think it was according to the specs. It takes beautiful pictures. Logistically its the same as a 35MM package. I would recommend a DIT as well. Not that you need to paint on set but you should have someone driving the menus and making sure that everything is as it should be. It is a computer after all.

 

One of my favorite things about the camera was when we pointed it right into the sun a few times and the way the sensor and the Digi Primes handled the naked sun. It was unlike any video camera I've ever used. I wouldn't say it was just like film but... it looked very pleasing.

 

You should contact Tom D'Angelo over at AMV and talk to him about it. They always have treated me very well.

 

give me a call if you're looking for an operator.

 

good luck

 

f

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Perhaps a little premature, but I'd guess that if F-23 is on the list, so too will F-35 be.

 

Why would going to tape on the set be so significant? Would they accept LTO's as being tape, in which case Dalsa is in the running? They're used a lot for green screen.

 

 

 

-- J.S.

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If your DP and Director don't mind having more depth of field then the F23 is the only tape based camera I would shoot with. If they would like to have 35mm depth of field then the Genesis is the current choice. If they are willing to shoot on a hard disk system then the Origin is probably on the top of the list, although it should be noted that the camera would only work comfortably in studio mode.

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