fs-100 shipping?
- Thread starter klausvelka
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Pascal Parvex
Well-known member
Green Hornet said:
Ah, great, as I took 1 Gig of RAM but 256 MB Video RAM. Dell RAM ist also way too expensive, ist would have cost me about 300$ for another Gig, when I see prices for barely 100$ per Gig.
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coolguy007
Active member
im gettin one 4gig card...and waitin till the fs100 comes out haha with the amount im spending on all these accesories and memory and all that stuff...i could have bought an XLH1 lol luckily for me and well for all of us the HVX is a hell of a lot nicer then the XLH1
augenblick
Well-known member
Hi Pascal
Do I get this right. You want to record a whole concert in HD on a Laptop Harddrive in one piece.
I am in business for 17 Years now and I wish you all the luck in the world.
Do I get this right. You want to record a whole concert in HD on a Laptop Harddrive in one piece.
I am in business for 17 Years now and I wish you all the luck in the world.
Pascal Parvex
Well-known member
augenblick said:
No, I there's not enough space and speed on the internal drive. I'll have to get an external drive, but I will test the internal drive. What format and what camera do you use for concerts?
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augenblick
Well-known member
Testing is definitely necessary.
Not camera, but cameras. Usually I have a setup with three to four operated cameras (one or two on a tripod, one handheld one on a crane) and a videovillage with a live-editing. Everything is then recorded to dvcpro 50. Each camera is also individually recorded, so I can change edits later.
As a single camera i use a dvcpro camera, but planning to switch to hd in the next 2-3 month. The HVX is very very tempting, but I have to see if I can edit the material without changing my complete NLE editing suite, just because of dvcpro hd. Maybe I'll go the XDcam HD way. Not decided yet. I have to play around with both cameras and workflows a little. And I most definitely wait until post NAB.
Why did you buy the ntsc version of the HVX. Doesn't make any sense here in europe.
Not camera, but cameras. Usually I have a setup with three to four operated cameras (one or two on a tripod, one handheld one on a crane) and a videovillage with a live-editing. Everything is then recorded to dvcpro 50. Each camera is also individually recorded, so I can change edits later.
As a single camera i use a dvcpro camera, but planning to switch to hd in the next 2-3 month. The HVX is very very tempting, but I have to see if I can edit the material without changing my complete NLE editing suite, just because of dvcpro hd. Maybe I'll go the XDcam HD way. Not decided yet. I have to play around with both cameras and workflows a little. And I most definitely wait until post NAB.
Why did you buy the ntsc version of the HVX. Doesn't make any sense here in europe.
Pascal Parvex
Well-known member
augenblick said:
Sure. I save a lot of money, I have it sooner, I have 24p and I already have Canopus ProCoder for high quality conversion. And for the net, it does not matter if NTSC or PAL, and also not for HDTV.
augenblick
Well-known member
Correct, but you will not be able to produce a single videoclip for a band or a tv broadcast because you have 24/25 Frame issues.
I will see the pal hvx200 on thursday at jordi.
And I do not have a lot of money. I rent the whole circus when I need it 3-4 times a year.
schweizer usualy gives you 10-15% off the official price. So you can have the camera at a reasonable price and you have full waranty.
That's what count for me
I will see the pal hvx200 on thursday at jordi.
And I do not have a lot of money. I rent the whole circus when I need it 3-4 times a year.
schweizer usualy gives you 10-15% off the official price. So you can have the camera at a reasonable price and you have full waranty.
That's what count for me
augenblick said:
Hi,
why should it be a problem to convert 24p to 25p ? I don´t think there is any problem for that and don´t forget: in the NTSC Version you´ll get 60p vrs. 50p and we don´t have 24p in the european Version at all.
I am from Germany and I think just because of 60p I´ll go for the NTSC Version after NAB (50p does not look that smooth as 60p looks).
Although I can´t see any reason to go with PAL for private use: all the newer TV´s can handle both formats as Plasma´s and LCD´s do and for all the other stuff I would go with 24p and make the conversion to 25p (just like any film conversation). I am not sure where I will buy the cam, but I think I will try to get the NTSC Version here in Germany (so warranty should not be a problem).
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Pascal Parvex
Well-known member
augenblick said:
Nope, ProCoder can pull it off. And you can always go the film way of speeding the footage up and fixing the audio.
DP StrangeLove
Well-known member
How many minutes of 720/24pn can the P2 store? How many minutes can the soon-to-be released Firestore store?
DP StrangeLove
Well-known member
Spec-Comm said:
I'm talking abou the P2 Store, how many minutes can it store of 720pn footage when filled, and how many mintures can the Firestore hold. What do you recommend for shooting a Documentary feature overseas where I can't be lugging a Powerbook around for transfer to firewire drives. Can either of these devices transfer to firewire drives without the need of a laptop?
-Benjamin
augenblick
Well-known member
emu said:
I disagree.
You will have major issues with a 60 Hertz Camera on a 50 Hertz Continent.
Every available light there is (and there are a lot) is flickering. When you do a movie, be absolutely 100% positively sure that you rent flickerfree equipment! (HMI, Fluorescent Tubes etc.) Because everything else is flickering. Your Picture is pumping. Trust me. You will be sorry if you invest in a 60Hertz Camera here in europe.
But that's just my 2 Cent.
And by the way. Why is everyone so fickerig about 24p. Unless you can make absolutely sure that your film is released theatricaly, it is not necessary at all. You'll be much better of with 25P.
95% of what you produce will end up on a DVD anyway.
But that's just my 2 Cent.
I could be wrong now, but I don't thinks so. (adrian monk)
augenblick said:
Augenblick, I agree with the flickering. I tried the camera over here and its terrible to film with natural light. (60hzs model)
However, 24p could be implemented on the camera, and the fact that it wasn't without any plausible explanation is something that has to be criticized. The camera can shoot 23p, 22p, why no 24p?
But its not a major problem, anyway. 25p to 24p converts without degradation, and vice-versa.
Pascal Parvex
Well-known member
SPZ said:
You mean artificial light, or do you think the sun is 50 Hz?
augenblick
Well-known member
SPZ said:
I agree on that. But it's time consuming and that is an issue for me. As I said before, 95% of what is produced ends up on a DVD. And we are living in a PAL and 50Hz Country. Of course I can convert, but why should I if I don't have to. There is just no necessity for this. All (well almost all) videoclips for example in europe are shot in 25P or 50i. Why? Because it is so much easier in postproduction. Even Tokyo Hotel was shot at 25P with the Arri 16SR3.
For me it's not worth buying a camera that does produce a lot of extra work. I go with the PAL Version. And I will even be able to rent it to others.
Again, no one has to agree on my position. It's just MHO.
Pascal_Parvex said:
You shot only in bright sunlight. Good for you.
Again. Good look on that concert.
Pascal Parvex
Well-known member
augenblick said:
I' show you then flicker-free videos then. Is the flicker visible in DV mode, so I can test it?
Pascal_Parvex said:
try anything with a higher than 50 shutter speed. And flicker should appear in dv mode too, yes. Try shooting 24p
About the natural light, yeah, my blunder, I meant artificial light (but street lamp and street neon type of light- interior house lighting should have this problem too. I wanted to differentiate from the professional lighting gear, so I stated "natural")
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