Useful Information from VMI
Whether to use P2 or not over XDCAM HD
FAQ from clients about using P2: I have to say, that on shoots where we don't have a data wrangler (all of them), I've found working with XDCAM discs infinitely better than p2 cards. Offloading several 100mbs p2 cards at the end of the shoot has added sometimes 3hrs to the day. We need to find a better workflow! I understand this BUT it is different now. This is because P2 is traditionally 100Mb/second but shooting on AVC Intra 50Mb/s is the same data size as XDCAM HD ((50Mb/second), so the data is the same size. Modern transfer tools such as Nexto DI http://vmi.tv/equipment/8/accessories/512/nexto-di-nvs-2525-standard-video-storage-pro-hard-diskarchive-unit , work at eSATA speeds and take all of the pain out of the transfer. You won't suffer any of the problems of close focus of the XF-305 and you won't need an external recorder either. The BBC's passing of the HPX-250 will make an easier camera available and the new data workflow makes it practical too!
The Aesthetics of Digital Cinema vs. Film
ACQUISITION: THE EMULATION OF THE PHYSICAL AND CREATIVE CHARACTERISTICS OF 35MM FILM IN THE DIGITAL DOMAIN. Usually at VMI, we make articles really easy for people to read but the inclusion of this essay this makes no apology for being a Master's level exploration about the aesthetic merit of film vs digital cinema! This essay is reproduced here by permission from VMI's own Ian Jackson (Assoc. BSC) as his master's thesis for which he was graded with distinction - well done Ian! As Hollywood embraces digital cinema, the convergence of hardware from information gathering sectors of the media strengthens, with blockbusters such as ‘The Curious Case of Benjamin Button’ (Fincher, 2008) and ‘Avatar’ (Cameron, 2009) shot with smaller chip documentary style cameras. However, the most recent and telling trend (and a return to miniaturisation) is for DSLR cameras to support full (2k) high definition recording at progressive frame rates, thus providing full 35mm sensor acquisition (and in the case of the Canon 5DmkII, a Vistavision size sensor) in an incredibly small package. The irony is that this accessibility to the hardware of cinema does not necessarily guarantee a cinematic product; shallow depth of field requires craftsmanship to be used in any narrative context. Godard’s ‘35mm camera in the glove box’ exists for everyone to use now, but we need to understand the century of technique behind film acquisition before we can use it as a cinematic tool.
Solid State HD Recorders
An introduction to HD Recorders, their advantages, specifications and overview. Discussion to help to decide on which HD recorder is appropriate for a given production.
Shallow Depth of Field good for streaming
A shallow Depth of Field can reduce the bandwidth requirement of video, which is good for the internet. We wanted to test this theory and this article explores this idea and concludes that you can save around 10% bandwidth by shooting with a large sensor camera compared with a small sensor camera, as the shallow depth of field means that you capture only the bits that you want in fine detail and as background is defocused.
Non-linear workflows
All modern cameras shoot on removeable media these days and you need to be prepared to adopt best practise for acquisition, data workflow and post production to get the most of your programme, whilst maintaining media security.
Low Energy Lighting
VMI are always following trends in technologies of TV production techniques and the field of lighting hire is no exception. Conventional production methodologies require large lighting units which require large trucks. Inefficient lighting technologies use large quantities of power which are beyond the conventional 13A ring mains, so generators are required. This means bigger trucks and specialised sparks, best boys etc and this has an inevitable effect on budget. The new generation LED lights and cool lights reduce size of device and power requirements. VMI recognise that it you can plus all lights into 13A plugs, then this will have a dramatic effect on cost, by doing without a genrator and really big truck! The BBC has already thought about this and this white paper is brought to you here for your convenience. Barry Bassett VMI
P2: Everything you ever wanted to know about P2… but were too afraid to ask!
Everything you ever wanted to know about P2… but were too afraid to ask!
Useful RED Links
RED Links and Resources VMI RED Equipment for rental VMI RED DIT Training Coursese OFFICIAL RED CAMERA USER FORUM DISCUSSION OF REDCODE COMPRESSION AND ARTIFACTS REDCODE 28 vs 36 4K 16:9 vs 4K 2:1 vs 4K HD DATA TRANSFER WITH AND WITHOUT CHECKSUMS MONITOR OUT COLOUR INACCURACIES CAMERA WON'T RECOGNISE DRIVE HDMI MONITORING STROBING WHEN PANNING
P2 and AVCCAM Links
P2 and AVCCAM contents manager software and drivers.
XDCAM Useful Links
Sony XDCAM-EX Software Drivers and Browsers for Mac and PC (all models)
Useful RED Information
Useful RED Information 1. Role of the D.I.T 2. IR and RED 3. Good Red Practice 4. Troubleshooting/Bugs
The Film Look on a Budget
How modern 35mm adapters have enabled a new range of 35mm optics to be used on popular consumer and prosumer camcorders to very good effect.
VMI Guide to Tapeless Acquisition & Workflow
HD Tapeless Workflow Seminar presented by VMI Managing Director, Barry Bassett at the London Broadcast and Video Expo Thursday 19 Feb 2009.
Choosing a Digital Format
Helping you to choose a digital format – completely revised Dec 08
HDCAM
Outline of the popular HDCAM format and camera range
DVCPro HD
Outline of the popular DVCPro HD format and HDX-900 Camera
AVC Intra
Panasonic's new codec works with the Panasonic HPX250, HPX-3000, HPX-3100, HPX-2700 and HPX-3700 and the quality compares with the Panavision Genesis and HDCAM SR, which makes it the best format for chroma key around – this explains why
XDCAM-HD
XDCAM HD Camera System and file-based workflow
XDCAM-EX, what you really need to know!
Everything that you need to know about Sony's new file-based memory stick format to compete with Panasonic's P2 format
RED
A no-nonsense guide to using the fab new RED One Camera
HD and Film Lenses
An outline guide to HD and film lenses
DSLR Production
This article describes how modern DSLR Cameras are now a practical consideration for shooting productions with excellent results on a low budget.
Useful Downloads
XDCAM HD and XDCAM EX post workflow using AVID (pdf)
Tapeless Acquisition Seminar 19 Feb 09 (pdf)
as given by VMI MD Barry Bassett at the Broadcast Live Expo.
