Source?
Source?
G
G.P.
Guest
Finally the director has made it here, we met and looked at a few locations. On Sunday the 10th we will have a little meeting with the UPM, Dr, Gaffer, 1AD, and I.
I would kindly ask that any more talk about using the amount of cameras be talked on a different post, we have made our decisions and would like to not clutter this with talks outside of the HPX500 and our feature using the gear with this camera to see how well it all works together.
The DP1 monitor has arrived and quickly (or rather un-quickly) unpacked. Surprisingly it came in 2 boxes within 1 large box. After it was all unpacked the HPX500 was turned on and the DP1 was hooked up via the HD component out. It looked very sharp. The 500 looked like it was made to be used with this monitor. I will say this though... The monitor was not easy to learn how to use. There are no buttons on the front, only behind it. To some they might like it, but to navigate the menu, I felt it a learning curve to be able to navigate without anciently doing something wrong. After using the DP1 with the HPX it is clear that the DP1 is great for focus, but also not so great for color checking. It does have lots of features to calibrate the monitor, but it seems to be very noisy in the blacks. The camera doesn't seem to put this out, its only the monitor.
We hooked up the HPX500 to a 55'' 1080p monitor to test to make sure it wasn't the output, and it wasnt, it looked beautiful and clear. We will do more tests to see if this is just how it is, or if its our unit. It still looks beautiful and very useful. I was warned that it wasn't designed for large pro level cameras, and was more for focus, and less for accuracy.
Tomorrow we will be working on locations and such. One issue with the HPX that we came into was that the script called for a few interior car shots, but since this is a full size camera with all the bells and whistles we have yet to figure out which way to shoot these. We would need a very strong car mounting system, and working on which ones we would need to rent.
I would kindly ask that any more talk about using the amount of cameras be talked on a different post, we have made our decisions and would like to not clutter this with talks outside of the HPX500 and our feature using the gear with this camera to see how well it all works together.
The DP1 monitor has arrived and quickly (or rather un-quickly) unpacked. Surprisingly it came in 2 boxes within 1 large box. After it was all unpacked the HPX500 was turned on and the DP1 was hooked up via the HD component out. It looked very sharp. The 500 looked like it was made to be used with this monitor. I will say this though... The monitor was not easy to learn how to use. There are no buttons on the front, only behind it. To some they might like it, but to navigate the menu, I felt it a learning curve to be able to navigate without anciently doing something wrong. After using the DP1 with the HPX it is clear that the DP1 is great for focus, but also not so great for color checking. It does have lots of features to calibrate the monitor, but it seems to be very noisy in the blacks. The camera doesn't seem to put this out, its only the monitor.
We hooked up the HPX500 to a 55'' 1080p monitor to test to make sure it wasn't the output, and it wasnt, it looked beautiful and clear. We will do more tests to see if this is just how it is, or if its our unit. It still looks beautiful and very useful. I was warned that it wasn't designed for large pro level cameras, and was more for focus, and less for accuracy.
Tomorrow we will be working on locations and such. One issue with the HPX that we came into was that the script called for a few interior car shots, but since this is a full size camera with all the bells and whistles we have yet to figure out which way to shoot these. We would need a very strong car mounting system, and working on which ones we would need to rent.
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monkeyking
Well-known member
If you have only a "few" interior car scenes, maybe a smaller B camera is in order - like an HPX170 w/Nanoflash? It would save you a lot of setup time.
S
steadicamsteel
Guest
Still doesn't answer my question.
S
steadicamsteel
Guest
You asked for a source and I've told you that source.
September 2009 ASC Magazine, Page 45, Third Column, Quote:
"Tarantino favors shooting with a single camera, going against the trend for two cameras, which often necessitates lighting and staging compromises"
Is that enough detail for you?
Barry_Green
Moderator
Not just lighting or staging compromises, but also sound compromises. If you're shooting a wide and a closeup simultaneously, you can't re-mike for the closeup, meaning the best audio you'll get is going to be what you can get in the wide shot. And that's never as good as what could have been gotten in a closeup.
There are tradeoffs everywhere, there's no free lunch, what you pick up in shooting speed you'll lose in utmost quality. Sometimes you have to make that compromise. Sometimes you don't want to. Pick your preference.