'turnhere' says GH1 not 'professional'
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Illya Friedman
Well-known member
This reminds me of when I had to work with no fewer than 4x broadcast engineers at NBC in order to convince them that the Panasonic SDX900, did in fact exceeded what they considered broadcast quality, in DVCPro25, DVCpro50, 60i and 24p.
This was for the first national TV series ever shot using the SDX900, Last Comic Standing.
Funny coincidence, while taking a walk this past weekend I met a neighbor for the first time out with his two kids. Turns out he was the producer of Last Comic and we had never met prior to that day. He remembered all the hassles of convincing NBC. One old timer Engineer who had to be convinced would only sign off on DVCpro50/59.94i origination. In the end, he was over ruled.
Of course the SDX900 went on to become the most popular camera of all time for reality television; it's even still being used in 16:9 and upconverted to HD on at least one cable series- even though the network thinks they are getting HD originated programming, too funny. No one wants to be the first to say yes.
Spartacus
Veteran
Now come on, you don´t want to compare the SDX to the GH1, don´t you?:evil:
Besides turnhere being the graigslist of mum´n paps video production services, they are quite right: Those people who pay 500$ to get their video shot, more than often expect you to bring at least 15000$ in equipment...
But hey screw "turnshit", just show your own clients what the GH1 is capable of and let them decide if it´s professional or not...:beer:
Nitsuj
Well-known member
It would be funny to see a conversation between that guy and Robert Rodriguez. Of course it isn't a 444 CineAlta or a VariCam but it can do a lot those can't. Shooting an interesting movie on a $1500 camera with no budget is much more impressive than a lot of expensive crap movies shot on "professional" cameras. I say shut them up by going out and making a movie on it. It is just a case of the "Elite" vs the "Creative".
Major BBC TV series like "Rome" (in the U.S. it is broadcast by HBO), "Space Race", "If", "Impressionists" and other, have been shot with the SDX900 in 25p mode. I watched Space Race and Rome, they look very good. In some scenes you can say it is not film when the camera is panning (maybe I am just imagining it), but overall it looks very good. Not HD, of course. But 2/3-inch chip is no 1/3-inch chip, and though the DOF in these series is not very shallow, it is shallow enough for the movie look. But the DPs also used a lot of closeups, so this helped. Anyway, I was more interested in the content than in looking for digital flaws.
snicky
Active member
Hahaha, lovely :thumbsup:
hha this thread is funny and sad at the same time,people without any knowledge about cameras are dictating,and bigger the cam -better the footage according to them.How about some disguise for GH-1 ?
I must say that there was a time when i thought that slrs are old and outdated cameras and even cellphone cameras were superior,so i can imagine what some clients might think about cams.
So question is ,what makes your camera look more professional ? First thing i think is some big lens hood and very big body.And of course it has to be black.Thats from amateur point of view,once you know more equipment then you tend to forget how amateurs see some things.
I must say that there was a time when i thought that slrs are old and outdated cameras and even cellphone cameras were superior,so i can imagine what some clients might think about cams.
So question is ,what makes your camera look more professional ? First thing i think is some big lens hood and very big body.And of course it has to be black.Thats from amateur point of view,once you know more equipment then you tend to forget how amateurs see some things.
Ah, that's the secret; t-shirts. What was I thinking? Is "turnaway" taken?
Luis Caffesse
Admin
From my experience with them, were someone to write a novel about TurnHere it would read like the video production equivalent of Upton Sinclair's 'The Jungle'
They are far from professional quality in their own right - they are all about volume, and it's easier for them to have their checklist of requirements than it is to evaluate each piece of gear on its own merits. It's all about efficiency - not quality - they want a 3 chip CCD camera.... wouldn't be surprised if they turned down the Dalsa because it doesn't have 3 chips.
They are far from professional quality in their own right - they are all about volume, and it's easier for them to have their checklist of requirements than it is to evaluate each piece of gear on its own merits. It's all about efficiency - not quality - they want a 3 chip CCD camera.... wouldn't be surprised if they turned down the Dalsa because it doesn't have 3 chips.
From http://www.pbs.org/producers/redbook/TOS_2007_Submission_8_20_07.pdf -- "The camera must use three CCD chips, each with at least a 1/2” diagonal and a minimum resolution of 1280 x 720".
djkarn105
Well-known member
This does bring up an interesting point though, client perception.
I would hope you have the kind of relationship with your client where you can show them example footage from the GH1 as proof that it's up to snuff.
Also, I think the rails matte box and follow focus you bought with the money you saved not buying a "broadcast camera" will make it look a little more pro.
I would hope you have the kind of relationship with your client where you can show them example footage from the GH1 as proof that it's up to snuff.
Also, I think the rails matte box and follow focus you bought with the money you saved not buying a "broadcast camera" will make it look a little more pro.
Eddy Robinson
Well-known member
I wonder how much this 'production house' pays the shooters for this...this...er...unique level of production quality.
Barry_Green
Moderator
I did a series of regional commercials for a continuing-ed school (you know, "become a pharmacist assistant" or "get a job as a massage therapist" or "join the growing medical field as a radiological assistant", etc). The client absolutely only wanted to hear about film. Which was fine, I had film cameras, but I said "would you indulge me to just watch my reel"... I had about 9 spots on there, two from 35mm film and the other 7 from the DVX. He watched it and thought it was all great, and I said "could you pick out which of those spots were film?" He said "they all were." I said "well, actually, only two were, the rest were shot on a particular 24fps video camera" and he said "looks fine to me. We can shoot all our spots on that if it means a lower budget" which, of course, it did. He still had me do the premium massage therapist spot on film, but we did all the rest on the DVX and they aired nationally and he was very happy and came back to me several more times for more spots.
So yes, client perception can be swayed by the size of the camera, and it can also be swayed by the quality of the finished footage. But I still say that if your client asks for something in particular, you make sure you can deliver that.
So yes, client perception can be swayed by the size of the camera, and it can also be swayed by the quality of the finished footage. But I still say that if your client asks for something in particular, you make sure you can deliver that.
