Rental price is for camcorder. Camcorder travels with me- it doesn’t rent by itself.
I have shot with this camcorder for years. I’ve shot HDV since JVC made the first HDV camcorder in 2003. I know the format’s limitations and how to make it look good. I rent for $550 a day. Call for 1/2 day or multi-day rates.

INCLUDES:

• Samson diversity, frequency agile, lav & handheld audio (batts included) + backup wireless mic.
• 2 Camera lights: Sony 10/20w tungsten, Dimmable LED- both use camcorder batteries.
• Bogen 3-stage stix with ball leveling & smooth, real fluid pan.
• Varizoon Stealth for easy on-tripod zooms.
• Monitoring cables, component (SD/HD) AV and Firewire
• Enough batteries for 4+ hours of tape & battery charger
• Tape included as we only use one brand- Panasonic Master- stock to avoid dropout issues
  tapes are yours to take home.

OPTIONS:

• For another $150 a day, add the Firestore FS-4 to record direct to hard drive and then transfer the footage to your computer (over Firewire) in jut a few minutes. Do not bother with digitizing all the clips in real time. Double up with the Firestore and say goodbye to digitizing. $150/day

• Wide angle lens options:
  — Impact 0.7x Converter. Zoom through. Nice pictures, good for when the lens needs to stay on the camera. $10/day
  — Raynox 0.79 Super Low Distortion adaptor. Can’t zoom through, but best for wide angle on the Glidecam. $10/day

• Glidecam set up for the FX1 & camera light
• Light kits $50/day- each
• Scopes Critical for EFP and broadcast work. $50/day

This CCD camcorder does not suffer from rolling shutter issues that distort images when panning, or with movement in the frame. It properly captures flashes of light.

HDV to deck and Firewire out is dynamically switchable from HDV to wide screen or letterboxed DV.

I have also used this extensively on Glidecam and Steadicam rigs (see my event video demo) for incredible motion, tracking, booming, etc.

Couple this with the FireStore hard drive recorder, or a separate media recorder of your choice (FireWire input) and you can walk away with media the instant we stop recording.

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The FX1. Still the leader for HDV. (click for larger)

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Info From Sony:

Play and record interlaced high definition video at resolutions up to 1440 x 1080 for professional quality video with vivid colors and striking detail with the Handycam® HDR-FX1. The HDR-FX1 features the real-time HD codec engine, which offers professional-level MPEG2 video compression, and 14bit HD DXP (Digital Extended Processor) for increased processing speed. Images are captured on three chip Advanced HAD™ CCD system that provides increased detail and improved video performance without the color bleeding found in other system. Optical capabilities include a Carl Zeiss® Vario-Sonnar® T* lens with 12x optical zoom and Super SteadyShot® image stabilization.

3-1/3″ 16:9 Advanced HAD™ CCD Imagers 1,120K Pixels Gross
Advanced HAD™ (Hole Accumulation Diode) CCD imagers with 1,120K effective (video) pixels provides excellent detail and clarity with exceptional digital video performance. Using a 3 chip Advanced HAD™ CCD system and dichroic prism to separate color information, colors are extremely accurate, and color “bleeding” and “smearing” are greatly reduced. NO “rolling shutter” or other CMOS imager issues.

Advanced HAD™ CCD Technology
Enhanced CCD design allows more light to reach the imager which reduces video noise to improve signal-to-noise ratio by up to 6db (2x better than a standard CCD). Particularly effective when shooting in dark situations.

HDV Recording Format
From the innovators in camcorder technology, Sony’s HDR-FX1 camcorder is the world’s first HDV1080i consumer level camcorder and player. Now you can record all your memories in true high-definition video.

Switchable HDV/DV Format Recording
The HDR-FX1 is capable of recording and playing back both High Definition and Standard Definition video recorded on standard MiniDV cassettes.

Real-time HD Codec Engine
A Sony developed Real Time MPEG Encode/Decode system with reduced in energy consumption and compact size to fit inside a personal camcorder. Provides efficient MPEG2 compression, and recording and playback of clear HD images at the same bit rate of the DV format, so that High Definition video can be recorded on the same cassettes as are used for MiniDV recording.

12X Optical Carl Zeiss® Vario-Sonnar® T Lens
From the authority in lens technology, the Carl Zeiss® Vario-Sonnar® T lens provides a high quality 12x optical zoom which maintains image clarity and color while reducing glare and flare.

3.5″ Wide Precision Hybrid SwivelScreen™ LCD Display3 (250K Pixels)
Provides excellent viewing clarity with improved resolution. The 250K pixel LCD display makes images sharp and detailed during playback or when monitoring recording. The Hybrid Reflective-Transmissive LCD Screen provides accurate viewing in sunlight or bright light, virtually eliminating the “washout” common with traditional LCD Screens.

Super SteadyShot® Optical Stabilization System
An advanced form of Sony’s SteadyShot Image Stabilization system that controls an even higher range of shake and vibration frequencies. This optical stabilization system achieves an even higher level of smoothness without degradation of video like some digital stabilization systems.

Analog/Digital Conversion with Pass-Through
Convert and/or record any analog NTSC video source to digital video via the analog inputs. Analog NTSC video can also be passed through the digital Handycam camcorder directly into a PC via the i.LINK®2 interface in real-time for easy PC editing of your analog footage.

Manual Zoom and Manual Focus Ring
Dual independent Zoom and Focus rings provide precise and detailed control over the amount of zoom and the overall focus of the image with just a turn of the rings. Fast, intuitive framing when zooming, and finely detailed focusing is easy with the natural “feel” of the rings.

Expanded Focus Indicator
The camera‘s LCD image is magnified, temporarily, up to 4X its original size without any loss of distortion. This allows the user more finite control while focusing the camera for greater detail and clarity.

Picture Profile
Allows the user to set manual adjustments for a scene (color, sharpness, white balance, etc) into any one of six presets, so they can be called up at just the touch of a button. Useful when shooting under the same conditions repeatedly, as options do not have to be re-set each time. Settings for various shooting conditions are offered as defaults.

CineFrame™ Recording
Not really usable on this camcorder.

Assignable Buttons
Three buttons on the exterior of the camcorder are user-assignable so that they can be set to the options most commonly utilized, for ease of recording.

i.LINK®2 DV Interface (IEEE1394)
A high speed bi-directional digital video/audio communication between two compatible devices equipped with an IEEE1394 interface, including camcorders, digital VCRs, and PCs.

Shot Transition
Allows for a smooth automatic scene transition. Settings for focus, zoom, iris, gain, shutter, and white balance can be set to the A/B button and a smooth transition will take place according to the set time. This function enables the focus to gradually shift from the front of the screen to a deeper part of the screen. Thus the iris enables a smooth change of depth of field.

So if you have a composite NTSC feed of your video, this portable device can measure it and give you calibrated IRE readings, vectors for calibrating bars or color charts and more. All this off any 12v supply (AC adapter included.)

Dual field Waveform. I prefer single field.

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Vectorscope on camera bars. Nice.

Audio, video, timecode, and control information is passed through a single FireWire cable, allowing you to record to disk and tape simultaneously. And when recording is complete, your footage is ready to edit instantly—no capturing, file transfer, or file conversion is required. FS-4 Portable DTE Recorders are compatible with a wide range of nonlinear editing systems. Ours is the 80 GB FS4 Pro HD.

With the FS-4Pro HD v2.0 firmware update, you can record 1080i-50/60 and 720p/30 clips in the native QT HDV file format. QT HDV clips can be imported directly into Apple Final Cut Pro without the need for capture or conversion first.

Say goodbye to realtime tape capture.

We have the FS4 ProHD 80gb

The business end. One for data. One for computer. We do not have the optional remote.

The charging port.

]]> http://blog.ieba.com/firestorefs4/feed/ 0 http://blog.ieba.com/datavideo-se800/ http://blog.ieba.com/datavideo-se800/#comments Tue, 14 Jul 2009 02:19:59 +0000 IEBA http://blog.ieba.com/?p=224 I’ve used the SE-800 to produce Flavors of America for many seasons. We do this with as many as four FireWire cameras in to the mixer, and then FireWire back out to a DVCAM deck. We compared this to component video through the Sony DFS-700 broadcast video mixer and the SE-800 won- hands down. Cleaner, sharper, more vibrant images. It is visually indistinguishable from the digital tape recorded in the camcorder itself.

By hiring me with the mixer, you get someone very familiar with the setup and operation and can get you up and recording in the minimal amount of time with the highest quality picture and sound possible.If super critical engineers at PBS are happy with my work, you will be to.

It not only handles four video inputs, it has an additional black/color source.

It handles audio. It can adjust more than seven audio signals as well as master fade (no pan or EQ though).

It has several presets for effects, which I never use.

It has FOUR individual digital TBC’s to tweak black/color/tint/luminance for each of the four video inputs- digital or analogue.

Lots of wipes.

Proper use of pre-program bus and Take button.

Be sure to add the video scopes to be sure video meets critical specifications.It may look fine on the monitor, but the scope is the only real way to be sure of your video levels.

With the Firestore, you can record right to hard drive with the mixer’s FireWire output. For less than the price of a rental deck, and zero wait compared to real-time tape capture.

For more than the most basic audio needs, I highly recommend adding the Mackie audio mixer. It will handle more audio, make it sound better, and be able send it to more places- like stage monitors or IFB feeds.

SE-800 video & audio production center.

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I/O for the SE-800. Call with any questions.

I have one of these video mixers.

It is the DV models with four Firewire (DV/DVCAM) inputs and one Firewire output.

In use on the set of Flavors. Three cams & program monitor. PBS loves the footage from the SE-800. So will you.

B&H wants $4280 for the SE800DV (that’s the model with Firewire).

Mine is available for purchase for: $3150 in its ATA-style shipping case with power supply.
The pruchase / rental price also includes five 10-meter (33 foot, or so) 6-pin to 6-pin FireWire cables and 6-pin to 4-pin adaptors in a separate carry case.
This is an excellent package price. Shipping extra. Call 215-632-3283 for more information.

For rental, you supply the four matching source monitors and the program monitor, decks, etc.

Lite Kit-2 – $60/day
3 Omni lights, 2 Tota lights, stands, gels, scrims, gel holders, various mounts, arms, clips, umbrellas. In a case.

Here’s Kit 1.

Kit ONE, with lots of accessories. Click for larger image.

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Kit TWO. Lots of accessories & light control. Click for larger image.

These kits, and the components therein, are not for sale.

Some bigger images:

Very nice control of your audio. And clean sounding.

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The back end. Very flexible. (Click for larger image)

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Travels in a nice, padded, protective bag.

Any questions? Just call.

The PLL synthesizer can be tuned between 30 different channels.
The compandor system enhances the dynamic range – which exceeds 96dB.
Tone squelch circuit eliminates noise.
XLR output is adjustable- 60 /-40/-20dB.
Multiple outputs from each receiver.
Front panel controls for channel select and output volume.
True diversity reception for both receivers in the chassis.
Antennas are amplified and directional. Powered by the receiver itself.

Kit comes with one 2′ antenna run, and one 25′ antenna cable (50 ohm, not 75 ohm video) and a mic stand to mount the second antenna. This ensures that what one antenna can’t hear, the other one can.

We have several Sony WRR-840 dual mono, and one WRR-820 single mono, wireless microphone receiver systems & various handheld and beltpack transmitter/microphones. Price is for each receiver / mic combination but you can mix & match for what you need. Power Conditioning (Furman / Nady) — included. We also have racks to hold optional components, including:

• Compression (Samson or DBL 166XL) — $10/day
• Rane Equalization — $10/day
• Mixing (Rolls or TOA D3) — $10/day
• 2-channel metering — $10/day
• Behringer patch bay — $10/day

Examples:

Live audience show. Bottom antenna DA feeds 5 receivers externally mixed on the Mackie. (click for larger image)

Flavors setup. Host & Guest. Host gets compressed. Guest does not. Stereo mixer also provides talkback. (click for larger)

Mic case. 3 HH, 3 lav. Room for batts & accessories. Compatable with other Sony mics. (click for larger)

The receivers and microphones are hard wired to channel groups. 64/65, 66/67. 68/69.
Transmitters from one group cannot transmit in other frequency groups.
All lav heads on the beltpacks are Sony heads. You can provide the mic head of you choice if it works on a Sony beltpack.

Sale price: $650 per receiver/mic set.

I have the Manfrotto Black AutoPole. This single-action, locking cam AutoPole mounts between the floor and ceiling of a studio between 6.8′ and 12′ high. You unlock the arm, extend the telescoping tube out until both ends touch their respective walls, and then you lock the arm into place– pushing the rubberized ends hard against the walls or ceiling of the room.

AutoPoles support backgrounds, lights, and grip arms with the addition of Super Clamps, Hooks, and crossbars. Several small Lowel lights can be held with one AutoPole between two walls. More can be carried if AutoPoles are used at each end to hole up the horizontal AutoPole.

• Strong support for backgrounds, lights and grip
(NOT for theatrical lighting, must use Bogen / Manfrotto rubberized clamps to avoid damage to pole.)

• Black painted aluminum

• 45.4 mm tube diameters

Black. Is. Good.

Rental $10/day per pole. Rent 10 poles, get 10 grip/light clamps for the day for free.

The Bogen clamp. Includes a brass stud that will not rotate in the clamp.

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AutoPoles holding three lights in a space where there is no grid. 3 poles, 7 clamps. Notice how little floor space this setup uses. - Click for a larger image.

Audio recorded into the R-1 is stored as stereo files directly onto removable Compact Flash card. Maximum recording time is approximately 137 minutes per 64 MB card. Maximum supported card is 2 GB.
Nine format-quality modes are provided, ranging from 64 kbps compression to linear WAV.
High Quality Recording — 24-Bit Linear PCM or Up to 320 kbps MP3 Encoding
Built-in Integrated High-grade Microphones.
Stereo 1/8″ unbalanced mic input.
Isolated Adaptive Recording Circuit (I.A.R.C.) and Analog Limiter
Up to 2 GB Compact Flash Card storage compatability
High Speed File Transfer via USB 2.0 Connection to Computer
— You provide the card, you take it with you when done.
Custom DSP Effects for perfecting your Recording and Playback
2 AA Battery Operation for 2 Hours of in-field recording

User supplies AA batteries and recording media (compact flash)

The recorder

Also for sale at $75.

The GV-D900 also offers the convenience of a 5.5-inch active matrix color LCD monitor for viewing playback or recordings right on the unit. It also features playback of data code to see the gain/iris/focus/white balance & more settings when the tape was recorded in a Sony camcorder.

The compact and portable DV Video Walkman is avilable for playing, recording, and editing your DV footage. The Video Walkman offers 20-segment assemble editing using infrared signals that are compatible with a wide array of consumer camcorders. Other features include: LaserLink wireless transmitter system, SP and LP record/playback speeds, analog recording capability, i.LINK DV interface (IEEE 1394), 16-bit or 12-bit PCM audio with audio dubbing (12-bit), frame advance, crystal clear still/slow motion, index titler, time code, and more. The GV-D900 also offers the convenience of a 5.5-inch active matrix color LCD monitor for viewing playback or recordings right on the unit.

The GV-D900 Video Walkman deck and power supply. Click for larger image

Product Description
Sony’s new lineup of Video Walkman TV/VCR allows you to take the world of professional quality recording, playback and editing anywhere you need to go. This model clearly demonstrates Sony’s commitment to state of the art innovation and excellence in consumer/prosumer video.

Only takes Mini DV tapes. Plays DVCAM. Does not play HDV. Click for larger image.

DV Digital Video Format offers up to 500 lines of horizontal resolution, 3x color bandwidth (vs. VHS) and significantly higher S/N ratio, to provide stunning video performance. 16-bit PCM allows for CD-quality stereo sound. The GV-D900 utilizes the 12bit PCM record mode to add, in post production, an additional high quality, stereo soundtrack. You can add music or narration to your videos without affecting your original soundtrack.

The controls. Click for larger image.

i.LINK (IEEE 1394) DV Input/Output lets you edit between two digital camcorders or a camcorder and a deck with virtually no generation loss. The i.LINK interface allows for direct communication between your DV Handycam camcorder and your PC, with optional DV capture card. LaserLink Wireless Connection with TV Control provides wireless connection from your DV Video Walkman to your TV up to 15′ away.

Audio I/O will record analogue video. Click for larger image

Standard Play offers up to 60 minutes of digital recording, or Long Play for up to 90 minutes, on one Mini DV cassette. 5-1/2″ Color Active Matrix LCD Screen uses Active Matrix technology to provide clear, accurate colors. Digital video assures noise free playback in slow motion and in the pause mode for detailed playback and frame-by-frame advance. Drop-Frame Time Code allows for frame accurate editing.

Infolithium-L batteries & 4-pin Firewire. Click for larger image.

Be sure to also check out the companion, integrable color video camera with 18x optical lens that we also have.

The deck with the camera. Click for larger image.

For Sale price: $750