Re: Mixer's notes from an AG-HVX200 24P feature shoot
- From: "Whitney Ince" <whitneyince@xxxxxxxxx>
- Date: 24 Jun 2006 22:00:13 -0700
Zach,
These are the many reasons I prefer to always run double system when
any new camera comes out. I did it for the first year or so The Cine
Alta was out as well.The film school I attended bought Cine Alta #16
thats right the 16th camera ever made and it had alot of sound problems
like the tape door didn't close making it sound like a 16mm camera and
issues with it glitching the audio. However my favorite thing is that
the Trim pack plate on it prevented me from using the clip on audio box
for channels 3+4. As with any new camera there are issues. However on a
recent shoot I was told "We are using a brand new Cine Alta with the
new Cine lens package it will make this shoot a breeze." As I am
thinking "sure it is". The camera did have great lens however the Hd
monitor it came with had a huge fan in it and the 5 pin xlr audio out
wasn't configured properly and the AC won't let me investigate why. It
was fine I recorded double system and billed them more money for the
use of my recorder so in the end we are all happy. On my first shoot
with the P2 card it was funny though we where always waiting around for
them to dump the cards since they only had 2 I was thinking to myself
"Loading a 35mm film mag is quicker than this!" But no one on the set
was complaining then one time during the shoot I needed to change out
my Np1 for my BDS system and it took me all of 2 min and I got our
favorite catch phrase "Waiting on sound from the A.D" so for the rest
of the day everytime we where dumping a P2 card I made sure to say
"waiting on camera". I never thought I would say this but I miss it
when everything was shot on film. It was much easier I always got to
run sound the way I prefer to double system.
Zachary Johnson Gramana wrote:
Whitney Ince wrote:
I agree with Phil 100 percent it sounds just like a DVX 100 to me as
well. I am in a smaller market here so I did one of the first shoots
locally with it and after one day of tests decided on recording double
system and them sending my mix out to the camera as backup was the way
to go. I explained to the editor that the mix out along with my sound
reports would be good enough for him to do dailies. The whole idea of
P2 doesn't sit well with me on these lower budget projects. All it
takes is someone losing a hard drive and there goes the whole project.
I hear that! There were a few tense moments on set when one glitch or
another popped up. Due to a peculiarity in the workflow, the first set
of dailies were missing a few shots. There was quite a bit of concern
until the AC verified that the takes were actually on the drives
(primary and backups) and that they just didn't make it onto the FCP
timeline. One other time, the laptop + firewire drives functioning as
the P2 store hiccuped while copying a card over and suddenly refused to
work with the P2 card. After a tense 20 minutes or so, and a reboot,
the problem disappeared as mysteriously as it appeared. Thankfully, we
had a very professional crew that was appropriately fastiduous when
working with the material.
One other issue surfaced. There was no 2nd AC on the shoot, and the
production periodically experienced delays as the two cards were full
and were currently downloading. Our poor AC, a great buy, never caught
a break. Crews definitely need a dedicated loader when shooting P2,
unless they have a lot of time to kill.
.
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