how many of your are recording only on interal cards?

Sparky874

Sparky874

Well-known member
Hi there. I was just wondering how many of you out there are just using the internal 35mbps set up on the internal cards rather than use an external recording device, ninja etc. It has too be much easier doing this out in the field? Are you finding the images plenty good enough to use for your purposes? I am just setting up a Ninja to my spanking new F3 and it has to be said, it is more of an effort to use, having to press record twice, mounting it etc. Thanks.
 
Most of my assignments so far were done only on SxS cards with a few shows where I had to rent nano... Still waiting to see "new" recorders in stock at local retailers so I can decide first hand what route to go ( samurai?? Pix??)...
 
That second commercial featuring Natalie looks Amazing! Really nicely put together. No wonder you don't have any complaints. Good job.
 
Almost everything I've done so far has been on SDHC cards with an MxR adapter. My SxS card is only 8Gig so its saved for slow-mo.

I have the Ki Pro Mini, but there is little benefit until several other things are in place. S-Log arrives in three weeks, plus the v1.2 firmware allowing an AB split for LUTs, and the indexing update next month. Then the KPM will be manditory on some shoots.
 
It's worth noting that I'm also an EX1 and an EX3 owner - so I have 112GB in SxS cards (not adapters).

I have a Samurai on preorder, but otherwise, I've either been shooting internal only, or for particular clients I've rented a Ki Pro on their budget.

Here are several projects I've shot on the F3 using internal recording only:
http://vimeo.com/19912416
http://www.youtube.com/watch?v=xwKB-S3loE8
http://www.youtube.com/watch?v=SgXUh1HrYOw&feature=related

Even on shoots where we've had the Ki Pro I've done some run and gun scenes with just the internal recording because setting up the power for video village was impractical. The Samurai will be a bit different because I'll be able to power it on the rig, but rest assured, when you have occasion to record internally, it hold together.
 
Pietro Impagliazzo said:
Which Nikon lenses you used on the Natalie one? Really liked the clarity of the image.
Click to expand...

Thanks for the comments everyone. We actually shot four different locations with different costumes of her in one day - difficult and not much time for each TVC (2 hours). Tony, the DOP, used Nikons, mostly the 28-70mm 2.8 I think and a 50mm 1.4.
 
I've almost always used the cards except for green screen and even some of that to the cards. Clients are thrilled. I would only upgrade the recording for green screen or SLog not ordinary shooting unless its a broadcast spec issue - which I think is pretty bogus in the case of the F3 but its there nevertheless.
My question is whether my clients want to take the time to color correct sLog.
 
I think the quality from the internal codec is very impressive and easily capable of most jobs I do. Unfortunately, in the UK, broadcast TV minimum requirements for HD acquisition specify a minimum data rate of 50Mb/s. This means I have to use an off-board recorder even when you can't see a difference! I've had loads of issues with the KiPro mini so now waiting to try the PIX240.
 
Used the cinedeck extreme today - and its a beast of options and tools. But have to say the screen itself (that has no control at all - even simple control such as brightness is missing) - shows everything too hot. At IRE 60, you could be led to believe that everythings way too hot. Of course it has the tools required to get perfect exposure and makes that easy. But flick off the waveform etc and youre back to a confusing image of - everything looks too hot.
 
Peter, on that first Swisse commercial I was admiring how you managed to capture the wide contrast range on your scenes. More particularly the second scene in the stadium, was there any lighting used or was the exposure set for the scene and subjects adjusted in post? I'm trying to do a similar scene but on a beach and having issues getting everything exposed properly. Would love to hear how this kind of thing is done.
 
starcentral said:
Peter, on that first Swisse commercial I was admiring how you managed to capture the wide contrast range on your scenes. More particularly the second scene in the stadium, was there any lighting used or was the exposure set for the scene and subjects adjusted in post? I'm trying to do a similar scene but on a beach and having issues getting everything exposed properly. Would love to hear how this kind of thing is done.
Click to expand...

Tony Brennan the DOP shot on one of the low-contrast cine gammas (not sure which one) and used a mild optical grad on the upper right of screen. On the "go" take, http://vimeo.com/28447534 both players were in the sweet spot but the talent preferred the take we used, which unfortunately had Tom Harley in the dark part of the grad. Tony also chased Israel (the player on the left) with a bounce board! but no other lighting aids. Some large scale reflectors would have been good if we had had the time and the budget.

I also applied a mild vignette to that shot. But I thought the camera and codec held up pretty well. The Tokina is prone to flare but looked real nice on this TVC. On the rest of the commercial I basically crushed the blacks and mids a smidge. This ramped the contrast and increased the chroma a little.

Israel Clean.jpgIsrael Post.jpg
 
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