Is this definately NOT an event cam?

russc

russc

Active member
So right tool for the right job... of course.
For weddings and events would you say this is not the tool?
Proper technique will help the compensate for skew but there is nothing but low light and flash photography at parties and weddings... does this flashbanding correction update really work or is this just the wrong tool for this job.

In the past I have used everything from a Sony 500 to the Sony 450 for event types of jobs. Then I went to the smaller guys DVX100... HVX200 because of size plus I had been using Panasonic for other types of work and liked it. Now with the way the world is going I am going bcak and grabbing more weddings again. But for events/wedding work I miss low light capabilities and that longer lens of the bigger cams (which I no longer have) Plus I like the panasonic color... so without spending like crazy I thought, perhaps this 300 might be a good compromise .
After reading and looking at a lot of stuff here on the 300 it doesn't seem like a good fit for events.
Am I wrong? Is Flashbanding the deal breaker?
I still can use the 200 I guess.
What would you guys use?
 
According to Abel Cine the FBC (Flash Band Correction) "This function works in 1080/60i and 720/60p" I unfortunately shot an event for a PR company in 720/30P, a setting the client's editor dictated, so I had the horizontal white UFOs and am testing the FBC further. More info at:

http://blog.abelcine.com/tag/hpx300/

I don't think skew is an issue for events. I sometimes shoot "events", not weddings and bar mitzvahs, I get calls from PR firms for publicity, EPKs, etc. a few days per month. I have had skew issues on industrials, but I am more in control at an event in terms of pan speeds.

I haven't seen objectionable noise at 3 db, or even 6, however...if I was to shoot a dramatic piece, with dark areas, and have a real picky editor using a pro HD monitor, then I would be more concerned. But for a happy newlywed couple I don't think they'd see noise, unless they're in the biz.

If you do buy the 300 get the 64 cards (and the 128s when they come out) so you don't have to worry about running out. Also, buy 2 Dionic 90s so you can last all day. I was anti-Dionic because I lose batteries and the Dionics seem so expensive, but the 300 uses less power than the big rigs I am used to and I love how (for $400) a battery will last all day and the one in my belt pouch is a security blanket. Also go with a LED Litepanel thus saving power.

So in answer to your main question I think it would be a great event camera, perhaps test it with someone shooting multiple flashes from many angles. It has a more professional ambiance than a 200, I don't know if that is good or bad for a wedding shooter, with a 200 on a shoulder rig your head can swivel around and look for other potential shots whereas a shoulder mounted unit like the 300, you're pretty much looking in the viewfinder straight ahead when going handheld. You will like the extra reach of it's lens though although it is less than the 500. Do what I did: get your hands on one from your dealer and test the hell out of it for a long weekend.
 
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Stijn

That was very valuable footage to see this cam in a fast paced, low light, strobing situation that you would find at most event coverage.
It is interesting that you kind of used the flashbanding from the strobes as an editing/creative choice. Not sure I could get away with it for a more formal event (like a wedding or corporate party) with still photogs popping flash all the time. But maybe the FBC firmware update would smooth out those split screen flashes. I also had no problem with any pans or zooms here.

The footage looked great. It was very valuable to me to see this cam in this environment.

Thanks!

russ
 
I agree with russ in all points. Looks really good!

Stijn, may i ask you some questions?

What Format did you shoot, how much Gain do you use and whats your scene-file setting?
Did you use FBC?

Thanks in advance.

P.S: I mean the indoor/night/Disco shoots...
 
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I've got mixed results with FBC.
When you use it for flashes from photographers at weddings or such it does it work good.

But sometimes when i use FBC indoor in disco's and such it detects fast moving lights from the disco as strobo flashes and the video is 'juttered'. Don't know if you all understand what i mean, i'm from Belgium and my English is not superb,hehe :)

I must admit i use +6 gain when i film indoor in disco's.
I will post my settings Tomorrow,because i really have to go now.

Also, a nice example is here: www.tomorrowland.be (click movie) and here http://www.youtube.com/watch?v=yFxZTGj_V6w

Al shots are made with the hpx300 except for the underwater shot (duh :D) and the rotating crane shots.

Grts,
Stijn
 
Settings:

Format is mostly 720 - 50p (avc intra 100)

Detail level 0
V Detal level 0
Detail Coring +5
Chroma Level 0
Chroma Phase 0
Color Temp Ach 0
Color Temp Bch 0
Master Ped - 25
A. Iris Level -3
Gamma Cinelike D
Matrix Cinelike
Skin Tone dtl ON
V Detail Freq THIN

FBC on / off depends in what situation i am..
 
Another item that you might take into consideration, is the cameras minimum object distance focus. In tight quarters you may want to consider using a wide angle adapter with the 300- otherwise it's sometimes necessary to kick in the macro mode.

I have not purchased a W/A for my 300 yet, but I'm seriously considering it in part for this reason.

Ned, I remember you mentioning in a thread that you were considering getting one as well... did you? Which ones have you been looking at?

My only concern is the CAC will not be as effective with a W/A on.
 
Hold off buying one for a couple of weeks. I spoke with the guy who owns 16x9 and he is having manufactured a .08 and a shipment should be coming in beginning of December. They're having a great sale on them. Check out:

http://16x9inc.com/store/cart.php?m=product_detail&p=763

for $560!! The reason I like this is that it is THREADED, unlike the Schneider which is a clamp on. Having a clamp on tightening screw can lead to problems if it gets bumped, or if you didn't seat it evenly, also looks amateur. A frequent poster on this site named Emmett complained that his Schenider was softer at the edges, and my experience is they all will be. I asked the owner of 16x9 how his WAs compared to Schenider at the edges but he would not go on record dissing the competition, but he did say that they will QC EVERY wide angle attachment that comes in, so that makes me feel better. Also, 16x9 has a long reputation for very high quality accessories.

Another factor is: when I finally do get rods and a matte box for the 300 I would like it to fit with and without the wide angle on, and it seems the 16x9 has a better chance of me doing that than the Schneider/Century version.

I was thinking of getting a CAC file made for the attachment but then I thought how fast I end up putting it on and off and am concerned I may forget to on/off the CAC, so I think it's best to just turn CAC off when putting the WA on. So far I have not seen the positive effects of CAC, meaning when I take the lens into manual zoom, for crash zooms MTV style my understanding is that the CAC is automatically turned off. When I see the footage I can't detect the dif, but perhaps that's because that style of shooting is very quick cut? And when I see the footage it is on a computer screen rather than an HD monitor.

If it was possible I would bring both attachments into a lens facility and ask them, for a small fee, to compare them on a real collimator, which is what was done in the good old film days, but alas I can't. I have found the 300 is not wide enough for typical interior b-roll, car ride alongs, etc. I also think, unfortunately, that I will have to buy a 1/3 to 2/3 adapter:

http://www.abelcine.com/store/product.php?productid=1000152

for $750 ugh! At least that way, when the client says, "Oh by the way we're filming a bicycle race this afternoon." I will have telephoto capability with me.
 
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Ned,

Very cool, thanks for the word on the 16x9 W/A lens. i wasn't too keen to spend $980.00 or $ 1600.00 for the two Schneider options that I've seen.

How does one get a CAC file created ?

Thanks
 
In Chicago I was going to ask SAJ Electronics, and out east it would be Roger Macie at broadcastvideo.com. They set your camera up to your favorite specific lens by adjusting "flare". That was in the pre-digital days but I reckon it's the same thing: Adjusting for imperfections. So that was going to be my first stop, or ask Jan Crittendon or Barry Green where to go. But like I said, I change so fast, so many times a day, I don't know if I'd trust myself to remember to turn CAC on and off, or have the time to do it.
 
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