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MillimeterCamera Confusion
Sep 1, 2005 12:00 PM, By Bill Miller
Invest a little time in getting to know your camera—whichever one you’re shooting with today.
I'm a videographer. I've made a decent living at it for more years than I'd like to admit. And as the years go by, the job gets more and more confusing. With all the formats, cameras, tape stock, and frame rates, it's a bit overwhelming. I just try not to look too confused on the set in front of my client when action is called. Why am I admitting this confusion? It's because I believe that if I'm confused, you might be also. Let me explain.
In this past week alone I used five different video cameras: the Panasonic AG-DVX100A; the Sony HVR-Z1U HD camcorder; its big brother, the Sony HDW-F900; the Ikegami HDL-V90; and the Ikegami HL-DV7AW. And I shot at 24p, 30p, and 60i. Whoa. Stop the brain from spinning. Of these cameras, I am a veteran with the Panasonic 100A and the Ikegami V90, having used them on a regular basis for the past several years. With the other cameras I was a novice.
Years ago, when I was switching from film cameras to video cameras, someone asked me how I felt confident using such a wide range of gear. Then it was easy. Basically, you lit a beautiful scene, you looked into the viewfinder, composed the shot, pressed the button, and the image went on either film or tape. And more often than not, a camera assistant was there to tell you which button to push. Now it's rare to get an assistant, and I need to know which buttons to push, how to get to the various menus, and what wheels to spin to get them to work.
Unfortunately, now there are many more settings to know beside frame rate and exposure. Or you at least need to know where to look in the manual.
A while ago, I made the professional decision not to own cameras. As you have read, I use too many different kinds. And many of my owner-operator friends are paying off the mortgage on their idle gear while having to rent newer state-of-the-art cameras. The alternative is to find a rental company or two that you can trust and that will give you the support you need.
By support, I mean a technician who will spend time with you when checking out the newest camera, not just hand it to you over the counter with a friendly “good luck.” You need a technician who will be there for you on the other end of the phone when you're on location and you don't remember how to change the frame rate, for example.
But you need to do your homework as well. Don't wait until you get the camera home to read the manual. Most manuals can be downloaded from the Internet. And be sure to read the book before checking out the camera.
Most cameras have the same basic settings and menu items. The manufacturers just put them in different places and call them by different names. By reading the technical guide, you will impress upon the rental house that you are serious about your work and its representatives will treat you in a much more professional manner. Also, be sure to shoot some test footage while you're at the rental company.
I checked out a camera the other day, blew all the whistles and rang all the bells, but didn't load a cassette. I arrived on location and went to put the tape in the camera in front of the client. It looked like the wrong size cassette. I was about to call the rental house when a light went off in my pea-sized brain. Perhaps the tape loaded vertically instead of horizontally, as was the case with every camera I had used in the past. Bingo. This idea saved the day and I was able to wipe the egg off my face before it dried.
While you may be an expert in getting images in and out of a camera, it's nice to have the right road map to guide you along the way. And if you get lost, remember that it's OK to stop and ask for directions.
Check out Bill's website at www.billmillerfilm.com.
