What cameras do discovery and such channels shoot their documentaries on ?

[mpgxsvcd]

I'm not affiliated with that show, I have my own team. Everybody knows everybody, we all end up at the same gas stations, restraunts and bars.

You have to have an IMAX camera to make an IMAX film.

I'd NEVER use a 1DsMk4 for this type of production, you'd get your ass kicked so fast from missing shots, no time code etc.

Who's Enzo in your youtube video? A family member has one in LA, it's pretty funny because there are 8ish of them in thier neighborhood (that I know about), I'd bet I know who's it is if it's an LA car.

I re-watched the final episode last night and it looked like Tim Samaras was right behind Reed when he got into that tornado. Are you part of Samaras’ crew?

I guess my question really is “Is it worth making an IMAX movie anymore”? I always thought the “Wrap around” affect that IMAX is supposed to give was just a gimmick. It always makes me sick to watch an IMAX movie because too much of the picture is out of my focus.

Could you explain a little more about why the DSLR would not be a good option for video. I haven’t shot with a pro-video camera before so I really don’t know all of their benefits. What about the DSLR would cause you to miss most of the shots? Is it auto focus speed? Auto Exposure? Limited Zoom range? Size? Ergonomics?

The Enzo video was taken near San Diego. You probably do not know the owner because he is pretty low key. He really was generous to let us ride in those cars though. I was kind of freaking out when my kids were climbing all over the $800,000 Enzo. The owner thought it was awesome that the kids enjoyed it so much.

 

[ChipG]

No, I'm not part of Samaras' crew I'm not affiliated with their show or crew, I have my own. I know Tim. There were over 100 cars behind Reed. It's what you can't see, crews out everywhere.

I'd bet Seans IMAX film grosses over $15 million in the US and maybe over $25M overseas where they have more of a fascination for tornadoes so yea, I'd say it's worth it. He can self dist, his dad is an old imax film maker and has connections like you wouldn't believe in that business so the easy part for him is just around the corner.

Post costs would kill it for a dslr on a large scale show. Much cheaper to rent a night vison adapter for a z7 and stick with the workflow they have. For small scale stuff with a dslr it'd be fine to use.

I drove an Enzo to In-N-Out burger for lunch last time in LA and then out to a club at night, rocks would fly up into the carbon fiber wheel wells and sound like gunshots going off, maybe I was going to fast, I didn't expect it for a $1m car but hey, it's a race car for the street, not much to it but an engine strapped around some carbon fiber with an absurde price tag but fun. Since I wasn't the one fitted by the factory for the car it was uncomfortable, can't adjust the seat. Every kid was trying to race me, every girl in the club was after me (not that they normally aren't when I drive a normal car )

 

[mpgxsvcd]

No, I'm not part of Samaras' crew I'm not affiliated with their show or crew, I have my own. I know Tim. There were over 100 cars behind Reed. It's what you can't see, crews out everywhere.

Was Reed the only one that got that close to that particular tornado? Was it really as foolish as Samaras made it sound for him to go into that one? What do other people think of Reed? Do they think he is a hot shot or do they respect the fact that he has collected a lot of data?

The video of that tornado made it look like an absolute monster shortly after it past over Reed. However, it looked like it was just spinning up as it struck him. Would it have been certain death for his crew if they had gotten in it a few seconds later? The clip from the Lexus commercial makes it appear to be an absolute beast. What was it like to see it up close?

Do you produce your own storm chasing videos? Where can I see them? Got a Blu-ray coming out anytime soon?

 

[andythefilmer]

Gold = cameras like the HPX3700.

Silver = unrestricted acquisition; cameras like the HPX500.

Bronze = limited acquisition, cameras like the HDV or HVX200. No more than 15% of a total HD program can be shot on Bronze level cameras.

I don't see how an entire show couldn't be shot on say a HVX or other "bronze" camera... They make movies with cameras like that.

 

[ChipG]

If it's a show on spec that they buy it'll be ok, if it is a commisioned show then you have to follow thier productin guidlines / requirements for the cams and formats.

 

[thabo]

Z7U best run and gun ?

Z7U best run and gun ?

I think the reason they use the Z7U is because it's the only camera that's smallish and has a proper interchangeable zoom lens? Sure HDV is not full HD but this bugger has a fantastic low light spec and a proper zoom lens, not some floating ring and a 12 min record time!

I was out last year with science project that was studying Tornadoes, VORTEX 2, and trying to get a proper focus with my little HMC40 was tricky, especially when we got some action and low light on this bugger is not great either.

Wonder how the new crop of Sonys and Pannys will change how they shoot. FS100 (ND filters), AF100 F3 .......

Go watch the iMax movie - Tornado Alley and you'll see even a $100k iMax movie camera with film has trouble shooting dark angry clouds and a bright background. We need a working HDR run and gun video camera!

 

[Patryk_Rebisz]

All network shows HAVE to have standards but many of the "standards" is just a collection of phrases that a tech at the network puts together (my gf is just posting a doc that was sold to HBO and many of the notes are actually contradictory). If you choose to deviate from the standards when shi* hits the fan your ass will be on the line because any network is just a big corporate office filled with cubicle drones who pretend to be creative.

That said though there are a few things to conciser:
-- one network's standards are not the same to another so something that flies here might not fly there
-- often network owns source footage so they have a way to catalog it (timecode) so if you are shooting with not-time-code ready device (DSLR) be prepared to post files to tape with timecode = extra money spend on post
-- with more organised productions (feature films, music videos, commercials) you can deal with intricacities of format/camera but when you are generating hours and hours of footage for a reality show you need to follow some set standards as the editing will be SUPER painful if you don't.
-- often you have APs on the set looking at the monitors and taking timecode based notes so again timecode is very important.

 

[adamr316]

I wonder what the rules would be in regards to pairing up a silver level camera on a better acquisition codec. We have the Nano, Ki Pro Mini and Atomos Samurai (and a few others) out or coming out that captures to a pristine format.