SUPPATIME
Active member
Hello all, it's been a while since I've last posted on DVXUser; my name is Drew Suppa, and if you know of me at all, it's most likely because of two of my Day-By-Day stories about a year ago, having shot a few short films with the HVX/P+S Technik/Super Speed II combination. Anywho, I've moved from Orlando, Florida to Hollywood, California in search of more work, and things are slowly picking up.
I'm currently on a reality show for ABC and am soon interviewing for a Field Producer job on another show. The job I'm applying for will allow me to shoot interesting segments every week dealing with automobiles and racing.
That said, I promised my superiors that I would give them superior finished video if and when I get hired.
I'm planning on using the HVX-200, P+S Technik mini35, Anton Bauer battery systems, Panavision PRIMO primes, 17" HD CRT Monitor with standalone Waveform Monitor, 16GB P2 cards, P2 Store and redundant backup to G-RAID 1TB units through Final Cut Studio on a MacBook Pro. Not only am I doing that, but I plan on having 3 turnkey systems to use simultaneously.
Aside from camera support and lighting, what would any of you seasoned users recommend for a bulletproof setup for these camera systems? I also plan on having a 3 stage mattebox with 3 sets of rods and a variety of filtration. I have some tight spaces I'll need to fit this rig into, and plan on using P+S Technik's T-Rex SuperScope system to get into many of these tight spaces, but they don't yet have an adapter for it to go to Panavision glass yet.
Has anyone shot with the HVX and treated the video files as a camera negative? Specifically, has anyone shot low Contrast / low Saturation / Cine Gama / low Knee / high Coring / mean Master Pedestal?
Specifically, I'm going for the cleanest image possible out of the camera itself (noize-free, essentially high latitude) while retaining the lens characteristics from the Panavision glass, and then be able to manipulate RGB, white and black levels in post using Color. For both "Dearheart's Bakery" and "Emotion", the two shorts I wrote up on this site last winter, I went into lengthy detail on how I'd manipulated the in-camera settings to achieve the best look I thought I could get straight out of the camera. Unfortunately, we used LCD monitors and didn't have the contrast right. Some of the images (specifically night time exteriors) had blacks that ended up so crushed that the high-contrast image went too far and I couldn't save some of the information I wanted to.
Seeing color correction done with film and most recently with the Red One and Red Alert combo, I wonder if similarly amazing outcomes could be had by treating the files from the HVX the same as one would the files from the Red or even the Panavision Genesis. If that's the case, does anyone know a good D.I.T. to have on-set to create Look-Up Tables for reference? If any of you around Hollywood are skilled in that area, please send me a link to a demo of your stuff.
Lastly, has anyone had experience with Indie Rentals? From their site and seeing them around town, they appear to have a great and organized rental house, and would be a wonderful one-stop shop for me to acquire all of this production gear from for the show. I hope we can negotiate rentals for complete packages. If any of you have opinions of them, they would be greatly appreciated...
I'm currently on a reality show for ABC and am soon interviewing for a Field Producer job on another show. The job I'm applying for will allow me to shoot interesting segments every week dealing with automobiles and racing.
That said, I promised my superiors that I would give them superior finished video if and when I get hired.
I'm planning on using the HVX-200, P+S Technik mini35, Anton Bauer battery systems, Panavision PRIMO primes, 17" HD CRT Monitor with standalone Waveform Monitor, 16GB P2 cards, P2 Store and redundant backup to G-RAID 1TB units through Final Cut Studio on a MacBook Pro. Not only am I doing that, but I plan on having 3 turnkey systems to use simultaneously.
Aside from camera support and lighting, what would any of you seasoned users recommend for a bulletproof setup for these camera systems? I also plan on having a 3 stage mattebox with 3 sets of rods and a variety of filtration. I have some tight spaces I'll need to fit this rig into, and plan on using P+S Technik's T-Rex SuperScope system to get into many of these tight spaces, but they don't yet have an adapter for it to go to Panavision glass yet.
Has anyone shot with the HVX and treated the video files as a camera negative? Specifically, has anyone shot low Contrast / low Saturation / Cine Gama / low Knee / high Coring / mean Master Pedestal?
Specifically, I'm going for the cleanest image possible out of the camera itself (noize-free, essentially high latitude) while retaining the lens characteristics from the Panavision glass, and then be able to manipulate RGB, white and black levels in post using Color. For both "Dearheart's Bakery" and "Emotion", the two shorts I wrote up on this site last winter, I went into lengthy detail on how I'd manipulated the in-camera settings to achieve the best look I thought I could get straight out of the camera. Unfortunately, we used LCD monitors and didn't have the contrast right. Some of the images (specifically night time exteriors) had blacks that ended up so crushed that the high-contrast image went too far and I couldn't save some of the information I wanted to.
Seeing color correction done with film and most recently with the Red One and Red Alert combo, I wonder if similarly amazing outcomes could be had by treating the files from the HVX the same as one would the files from the Red or even the Panavision Genesis. If that's the case, does anyone know a good D.I.T. to have on-set to create Look-Up Tables for reference? If any of you around Hollywood are skilled in that area, please send me a link to a demo of your stuff.
Lastly, has anyone had experience with Indie Rentals? From their site and seeing them around town, they appear to have a great and organized rental house, and would be a wonderful one-stop shop for me to acquire all of this production gear from for the show. I hope we can negotiate rentals for complete packages. If any of you have opinions of them, they would be greatly appreciated...
