I am shooting a pilot for a tv show in a couple of days and no time to test - the producer has got a deal to shoot with the SDX 900 and is asking me what lens I want etc - I haven't shot with the SDX 900 with or without 24P mode before and this shoot will be in 24P mode - so I wondered what experiences have led people to suggest the best lens and filter combo to get the best and most 'beautiful' look possible - obviously this is all subjective but I have no time to test - or get into the rental house - so any advice would help.
Thanks in advance
Assuming you want to go with zooms you have several good choices. As for ENG style, it's really tough to beat the Fujinon HD 5-50mm and slightly older 5.2-50mm both are amazing pieces of glass with little breathing. Otherwise Canon (or Optex) Cine style zooms are quite nice, but you'll need to add a zoom motor/microforce.
I used the SDX 900 recently with the Fujinon 5-50 and was pretty impressed.
I'm currently prepping another 900 project and am using the pro35 adapter with Cooke S4 primes. I highly recommend it. PS Technik has a DVD of Varicam footage with the adaptor and S4 primes. Obviously not the same thing, but it gives you an idea of the difference between these primes & digi primes if you don't have time to test.
>Otherwise Canon (or Optex) Cine style zooms are quite nice, but you'll >need to add a zoom motor/microforce.
Using a HD zoom on the SDX900 is exactly what I'm planning to do for an upcoming short project going to filmout. The SDX900 I used previously had a stock SD Fujinon that breathed harder than a 1-900 phone caller and also looked a little soft on the wider end. The zoom I'm looking at now is the Canon HD "cine style" 4.7-52mm (I don't know if this is old or new model) or possibly a set of Canon HD primes.
I will have a few hand-held shots in close quarters so I'm curious as to the size and bulk (and MF) of this zoom and if the primes are noticeably better image-wise.
Does anybody have any experience with matching the DVX 100a with the SDX 900 - I realise that it might be best to shoot for close ups with the 100a but what else would help to match the 2 cameras
I tested the DVX 100 and the SDX 900 when prepping the last digital project I did. The footage from both was up converted to HD, color corrected in a tape to tape session and then put to film out at Efilm.
Until we went to film out the cameras matched very well. I would only stay away from the 100 on anything wide. Save it for the close ups. But while watching our HD master it was difficult to distinguished between the two on close ups.
Do you have any other recommendations on the pro35 adaptor?It's a narrative feature that we'll eventually take to film out. I did somewhat extensive tests and have taken 900 footage to film out, but not with this adaptor and 35mm primes.
Setup files for the SDX900 to match it to the DVX100a are included in the Goodman's Guide to the Panasonic SDX900 and are or will be available shortly on Panasonic's website.
Contact Jan Crittenden at Panasonic.
Author, Goodman's guide
>Do you have any other recommendations on the pro35 adaptor?
Take a look in the archives around early-to-mid August 2003. I wrote extensively on using the Varicam with the Pro35 and many others commented further. The results with the SDX900 should be similar. I personally find that there are narrow windows of acceptable performance with various settings while using the Pro35 before unwanted artefacts occur, but within those parameters it delivers a very unique and pleasing look.