Gwen Bertaut
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super classe !
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First Scarlet-X with Ti Canon mount in Japan...
- Thread starter Peter Majtan
- Start date
Alexandre Iso
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Oh nice, that's like right in the middle of the American School in Japan and the Zama Airbase.
Selvakumar
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I have a similar Red Rock micro Rig. Just want to know how you fixed the scarlet X to the Rig ?? What baseplate are you using.
Keith_D
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Congratulation!
Nick Junkersfeld
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- #26
Peter Majtan
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Nice Nick, that allows for further quick separation from the shoulder mount. Well done!
Kumar - if you look at Niks pic closer You will get Your answer as well...
:thumbsup: Peter
Kumar - if you look at Niks pic closer You will get Your answer as well...
:thumbsup: Peter
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Peter Majtan
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I have a funny story to share...
We had a shoot for a Japanese TV show, for which I am in front of the camera rather then behind it (don't ask...). It being an NHK production, it has been shot for years on the SONY HDCAM cameras. We were on a location several hours away from Tokyo and only just started the shooting day when the tape mechanism in the HDCAM refused to work and rendered the camera useless. Coincidently the previous night as was at my friend's house with my Scarlet and did not get the chance to drop her back home before going for the shoot. As I had to leave my car parked all day in downtown Shibuya - there was no way I was going to leave the Scarlet in it, so I took it with me to the shoot. We eneded up recording the rest of the day on the Scarlet and we only had two issues (none of which were the camera's fault):
- I didn't have with me my audio kit, nor the the 1.8" to XLR cable for the boom they were using, so they ended up recording audio separately...
- upon late night return to NHK in Tokyo we needed to transfer the SSD media to HDCAM tapes as the NHK workflow requires to have the tapes for archival purposes if nothing else. We ended up trying several models of HDCAM decks including the CineAlta SR one and they could not get any of them to take the P signal from the Scarlet - even thou the monitors were showing clean signal coming through on the HD-SDI. I know this was a setting issue - at the very least for the SR deck, as this deck is comfy with P signals all the time. In the end, as it was close to midnight and they will not let me touch the deck - I have left the SSD's with them so they can sort it out over the weekend...
In any case the director was really happy we didn't waste the day and I had most of the footage transcoded and audio synced for him in the car before we have even returned to Tokyo. He was looking for a long time to see RED camera first hand, just not under this circumstances. And more importantly - the "old school" NHK's cameraman took less then 5 min to get comfy with the Scarlet and the only "issue" he had was the lack of auto-iris... ;o)
It's not like NHK is going to change their workflows anytime soon, but it was good to see that the Scatlet was more then capable to "fill in" when needed...
Peter
We had a shoot for a Japanese TV show, for which I am in front of the camera rather then behind it (don't ask...). It being an NHK production, it has been shot for years on the SONY HDCAM cameras. We were on a location several hours away from Tokyo and only just started the shooting day when the tape mechanism in the HDCAM refused to work and rendered the camera useless. Coincidently the previous night as was at my friend's house with my Scarlet and did not get the chance to drop her back home before going for the shoot. As I had to leave my car parked all day in downtown Shibuya - there was no way I was going to leave the Scarlet in it, so I took it with me to the shoot. We eneded up recording the rest of the day on the Scarlet and we only had two issues (none of which were the camera's fault):
- I didn't have with me my audio kit, nor the the 1.8" to XLR cable for the boom they were using, so they ended up recording audio separately...
- upon late night return to NHK in Tokyo we needed to transfer the SSD media to HDCAM tapes as the NHK workflow requires to have the tapes for archival purposes if nothing else. We ended up trying several models of HDCAM decks including the CineAlta SR one and they could not get any of them to take the P signal from the Scarlet - even thou the monitors were showing clean signal coming through on the HD-SDI. I know this was a setting issue - at the very least for the SR deck, as this deck is comfy with P signals all the time. In the end, as it was close to midnight and they will not let me touch the deck - I have left the SSD's with them so they can sort it out over the weekend...
In any case the director was really happy we didn't waste the day and I had most of the footage transcoded and audio synced for him in the car before we have even returned to Tokyo. He was looking for a long time to see RED camera first hand, just not under this circumstances. And more importantly - the "old school" NHK's cameraman took less then 5 min to get comfy with the Scarlet and the only "issue" he had was the lack of auto-iris... ;o)
It's not like NHK is going to change their workflows anytime soon, but it was good to see that the Scatlet was more then capable to "fill in" when needed...
Peter