I'm discontinuing posting on the Blogger site. It's just a duplicate of the Libsyn site and that seems to have the most traffic. I'll leave a note with a link to the Libsyn site.
I lost data because of a damaged drive, which I hadn't backed up. Don't do this at home okay?
At the same time I was digesting this trauma I was conflicted over which camera I should use which CDIA loans out. You can try to follow my various colliding trains of thought that led to the ultimate decision. I did decide, but the real issue isn't the camera, so much as it is trying to grasp the phantom of security when it comes to assuring I will always have a camera to shoot with when I need it.
It appears that getting comfortable with insecurity is the lesson of the week.
Just to make sure I learned my lesson I had to shoot an open house at Birch Mountain Pottery and I hoped to interview some of the customers. It makes my stomach ache to have to ask complete strangers to sign a release form and talk to me on camera. I managed to walk through that fire, thanks to Susan, her family and everyone who attended. I don't see the fizzy feeling is going to go away over time. Man up, right?
Showing posts with label Canon XH-A1. Show all posts
Showing posts with label Canon XH-A1. Show all posts
Sunday, May 11, 2008
Thursday, March 27, 2008
#78 Wk58 Preproduction II
Whether to use the Canon XH-A1 or the Panasonic DVX200 is more than just HDV versus HD, or tape versus P2 solid state. It comes down to what you know, and I know the Panasonic better than the Canon. Brand wise, I'm all over Canon. The first film SLR I purchased with my own money was a Canon FTb. Tough as a tank; I loved that camera.
It's just that I believe that it's easier to create when the tools being used are transparent, that is, they're so familiar that they're effortless to use, acting as an extension of your body. At this point I can't say this is true for any video camera I've used, but the Panasonic is the closest. In the show I give a little detail on the advantages it has over the Canon.
One of them is the ability to shoot in true slow motion. I've put some examples on my YouTube page of slow motion and accelerated motion footage and as well as a video demonstrating rack focus.
We've spent a lot of time in class reviewing the data forms we need to fill out to create our production book. The book, which is a collection of forms signed, lists of names and shots, drawings, sketches and other information that represents the roadmap to our final destination, the finished film. It's a work in progress, but we do have to something to show before the end of the module.
Don't forget to send me questions you want answered while I'm at NAB, the National Association of Broadcasters conference, coming up in mid April. I'm available for meetups if you're in Las Vegas at the same time.
It's just that I believe that it's easier to create when the tools being used are transparent, that is, they're so familiar that they're effortless to use, acting as an extension of your body. At this point I can't say this is true for any video camera I've used, but the Panasonic is the closest. In the show I give a little detail on the advantages it has over the Canon.
One of them is the ability to shoot in true slow motion. I've put some examples on my YouTube page of slow motion and accelerated motion footage and as well as a video demonstrating rack focus.
We've spent a lot of time in class reviewing the data forms we need to fill out to create our production book. The book, which is a collection of forms signed, lists of names and shots, drawings, sketches and other information that represents the roadmap to our final destination, the finished film. It's a work in progress, but we do have to something to show before the end of the module.
Don't forget to send me questions you want answered while I'm at NAB, the National Association of Broadcasters conference, coming up in mid April. I'm available for meetups if you're in Las Vegas at the same time.
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