Ok, just googled the darn thing.
It's 5000 US dollars. That's about 300 euros next week. Who cares about a
potential transport fee back to the states for warranty?
Most power supplies / adapters nowadays don't care about voltage, they auto
switch or can be switched. But your vendor will tell you.
My biggest concern would be your technical know how about 24P.
You need to invest heavilly in that!
Two things i can tell you now:
NEVER EVER think about 24 fps from now on, untill you are ready to play out
to 35 MM.
The framerate is 23.976 ! (close, but the difference is big enough for
serious headache if you mess this up.)
Don't worry about stuff like DVD or broadcast. For DVD you can use a
downconvert to NTSC resolution, and put it on disk.
European players will accept it, as well as NTSC players.
(In fact i did a huge DVD project that originated on 25 digibeta, slowed
down to 23.976 and scaled down to NTSC to get world wide compatiblity)
For playout for broadcast you can speed up to 25. All is easy, help is
available when you get to that point.
Go toy with 23.976 material (NOT 24 material) and see how your avid /
monitoring behaves.
For your Ninja, i take it you use HDMI insta of FireWire?
(this cam seems not to have FireWire out, nor is FireWire capable of
uncompressed HD...)
Bouke
VideoToolShed
van Oldenbarneveltstraat 33
6512 AS NIJMEGEN
The Netherlands
+31 24 3553311
www.videotoolshed.com
For large files:
http://dropbox.yousendit.com/BoukeVahl998172
----- Original Message -----
From: <james_whitehouse1@yahoo.co.uk>
To: <Avid-L2@yahoogroups.com>
Cc: <Avid-L2@yahoogroups.com>
Sent: Tuesday, August 16, 2011 12:26 AM
Subject: Re: [Avid-L2] Re: 24p/25p?
Hi,
Thanks for the replies! The cam shoots mpeg avc/h.264 at about 28mbps
internally, but I'll be using a Ninja from the uncompressed FireWire out to
get lovely ProRes HQ ;)
If it were possible to hack the firmware of the UK model for now, that would
be great! Otherwise the only issues I can see with a US model is the
warranty, the fact I may wish to shoot 25p for UK broadcast for other
projects in the future and possibly the charger not being UK compatible?
Cheaper in the US though!
So if it is more likely UK will accept 24p, how will I convert for UK
market, if I wished to produce, for example, a DVD release?
Cheers,
James
On 15 Aug 2011, at 23:17, "bouke" <bouke@editb.nl> wrote:
> Could one not use 'ignoreQTrate = true' to import in a 23.976 project? Or
> CinemaTool to 24?
> (Of course both need a QT compatible format to start with, but that can be
> arranged)
> No idea what this cam shoots, but i doubt it's an easy import anyways...
>
> And then the discussion about sound and pitch...
>
> What i don't get, did sony release a European and American firmware?
> Smells like a simple software hack to get it 'fixed'
> (it was common over here to hack cameras that had firewire in disabled due
> to import fees)
>
> Last but not least, why not get one from the States then?
>
> Bouke
>
> VideoToolShed
> van Oldenbarneveltstraat 33
> 6512 AS NIJMEGEN
> The Netherlands
> +31 24 3553311
> www.videotoolshed.com
> For large files:
> http://dropbox.yousendit.com/BoukeVahl998172
>
> ----- Original Message -----
> From: "Terence Curren" <tcurren@aol.com>
> To: <Avid-L2@yahoogroups.com>
> Sent: Monday, August 15, 2011 11:34 PM
> Subject: [Avid-L2] Re: 24p/25p?
>
> In Symphony, you can cross convert from 24 to 25 and 30, or from 25 to 24
> &
> 30.
>
> In MC you could open the 25 timeline in a 24 project, but every shot would
> have a motion effect applied to adjust. Not very elegant.
>
> Personally, I think Europe is far more comfortable with taking a 24 then
> the
> US is with taking a 25 project. Not saying it's right, jut the way it is.
>
> --- In Avid-L2@yahoogroups.com, "James W" <james_whitehouse1@...> wrote:
> >
> > Hi,
> >
> > Sorry for what may be an obvious question, but I'm about to invest in a
> > Sony NEX FS-100 to shoot an independent, low budget feature. I'll be
> > editing in Avid. The film will be sent to festivals in the UK, Europe
> > and
> > US and we hope to potentially release online and possibly get a limited
> > theatrical release or broadcast.
> >
> > This means it is of importance to have the best, most flexible workflow
> > in
> > terms of frame-rates form the start.
> >
> > Problem - I'd probably intuitively choose 24p for a feature film which
> > may
> > have theatrical release or festival showings, but the UK model of the
> > FS-100 currently has only 25p/50p. This is apparently to be fixed with a
> > firmware update in the winter, but we're shooting before then. The US
> > model was, on the other hand, blessed with 24p/30p/60p.
> >
> > So am I doing my post production and possible release media harm by
> > purchasing the UK model and shooting 25p at present, should I get an air
> > fare to NYC and go pick up a US model and shoot 24p, or does it make no
> > difference ultimately, as I'm going to have to convert to something
> > different whatever I use? I would ultimately go with whichever option is
> > likely to give the best all round quality and least pain in post.
> >
> > Whichever option I choose, will I be able to do any such conversions in
> > MC, or will I need to pay for a transfer for maximum quality? Any
> > thoughts, advice and workflows greatly appreciated before I part with
> > cash
> > and lock out some of my options!
> >
> > Many thanks in advance,
> >
> > James
> >
>
>
[Non-text portions of this message have been removed]
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