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Digital Lighthouse shoots CBS sports interviews with Panasonic’s HDX900
Friday October 26th 2007Digital Lighthouse Productions has invested in Panasonic’s AJ-HDX900 multi-format DVCPRO HD camcorder, which company principal Dan Spiess is currently using on a recurring assignment for CBS Sports, shooting Media Day interviews of the Florida Gator football coach and players.
Other recent HDX900 projects include the video portion of a traveling museum exhibit (for the Florida Museum of Natural History), a fundraising video for the regional United Way, and recruiting videos for technical schools. Lighthouse’s field production package also includes Panasonic’s AG-HVX200 handheld P2 HD camcorder and BT-LH900A LCD HD field monitor with built-in waveform.
Spiess, a longtime proponent of DVCPRO-based production, has been producing, shooting and editing video for 35 years, working on diverse projects including major live event broadcasts, television news reporting, documentaries, corporate videos, training and instructional videos. He has won numerous awards including a regional Emmy for his work.
Lighthouse’s ongoing production work for the University of Florida’s Athletic Department and renowned Documentary Institute has always been driven by Panasonic DVCPRO gear, beginning in 1998. Over the past nine years, Lighthouse has worked for most of the major networks, numerous large corporations, and a number of non-profits.
"First, the HDX900 shoots beautiful pictures. Couple that with a Fuji 13X4.5 super wide angle zoom lens, and the pictures are breathtaking," he said. "The quality, low light sensitivity and the sharpness of the HDX900 2/3" chip set was a key factor in our purchase decision. I can’t stress enough how important it is to have 2/3" chips for low light shooting. The smaller chip cameras look fine when there’s a lot of light, but we routinely get asked to shoot where there isn’t much light, and that is where the HDX900 shines."
Spiess purchased the HVX200 in partnership with a DP colleague in 2005, shortly after the camera began shipping. "That started Lighthouse’s transition to HD," he said. "We upgraded our two Final Cut Studio suites with AJA Kona LH I/O cards, purchased HD monitors and hard drive arrays, and bought the AJ-HD1200A DVCPRO HD deck. Having the HD deck made the choice to go with the HDX900 an easy one."
"The HDX900 and HVX200 work incredibly well together," Spiess continued. "It’s such a luxury these days to have a small form-factor HD camera that shoots the same format as your large HD camera. No one else has that sweet combination. You can get footage from the HVX200 that you just can’t with the HDX900 — such as variable frame rate shots — and the HVX200′s smaller size allows you to put it in places you can’t get to with a larger camera.
"We recently used the cameras together on a shoot for the museum in a creek bed where kids where looking for sharks’ teeth," said Spiess. "The HVX200′s size allowed us to use a smaller jib that was a more cost-effective choice. The footage mixed so well that it was hard to tell the difference between the two."
Spiess said he tends to favor the cameras’ film-like looks, and appreciates the ability to shoot in different frame rates.
Headline, Technology News
Digital Lighthouse shoots CBS sports interviews with Panasonic’s HDX900
Friday October 26th 2007Digital Lighthouse Productions has invested in Panasonic’s AJ-HDX900 multi-format DVCPRO HD camcorder, which company principal Dan Spiess is currently using on a recurring assignment for CBS Sports, shooting Media Day interviews of the Florida Gator football coach and players.
Other recent HDX900 projects include the video portion of a traveling museum exhibit (for the Florida Museum of Natural History), a fundraising video for the regional United Way, and recruiting videos for technical schools. Lighthouse’s field production package also includes Panasonic’s AG-HVX200 handheld P2 HD camcorder and BT-LH900A LCD HD field monitor with built-in waveform.
Spiess, a longtime proponent of DVCPRO-based production, has been producing, shooting and editing video for 35 years, working on diverse projects including major live event broadcasts, television news reporting, documentaries, corporate videos, training and instructional videos. He has won numerous awards including a regional Emmy for his work.
Lighthouse’s ongoing production work for the University of Florida’s Athletic Department and renowned Documentary Institute has always been driven by Panasonic DVCPRO gear, beginning in 1998. Over the past nine years, Lighthouse has worked for most of the major networks, numerous large corporations, and a number of non-profits.
"First, the HDX900 shoots beautiful pictures. Couple that with a Fuji 13X4.5 super wide angle zoom lens, and the pictures are breathtaking," he said. "The quality, low light sensitivity and the sharpness of the HDX900 2/3" chip set was a key factor in our purchase decision. I can’t stress enough how important it is to have 2/3" chips for low light shooting. The smaller chip cameras look fine when there’s a lot of light, but we routinely get asked to shoot where there isn’t much light, and that is where the HDX900 shines."
Spiess purchased the HVX200 in partnership with a DP colleague in 2005, shortly after the camera began shipping. "That started Lighthouse’s transition to HD," he said. "We upgraded our two Final Cut Studio suites with AJA Kona LH I/O cards, purchased HD monitors and hard drive arrays, and bought the AJ-HD1200A DVCPRO HD deck. Having the HD deck made the choice to go with the HDX900 an easy one."
"The HDX900 and HVX200 work incredibly well together," Spiess continued. "It’s such a luxury these days to have a small form-factor HD camera that shoots the same format as your large HD camera. No one else has that sweet combination. You can get footage from the HVX200 that you just can’t with the HDX900 — such as variable frame rate shots — and the HVX200′s smaller size allows you to put it in places you can’t get to with a larger camera.
"We recently used the cameras together on a shoot for the museum in a creek bed where kids where looking for sharks’ teeth," said Spiess. "The HVX200′s size allowed us to use a smaller jib that was a more cost-effective choice. The footage mixed so well that it was hard to tell the difference between the two."
Spiess said he tends to favor the cameras’ film-like looks, and appreciates the ability to shoot in different frame rates.
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Headline, Technology News
Digital Lighthouse shoots CBS sports interviews with Panasonic’s HDX900
Friday October 26th 2007Digital Lighthouse Productions has invested in Panasonic’s AJ-HDX900 multi-format DVCPRO HD camcorder, which company principal Dan Spiess is currently using on a recurring assignment for CBS Sports, shooting Media Day interviews of the Florida Gator football coach and players.
Other recent HDX900 projects include the video portion of a traveling museum exhibit (for the Florida Museum of Natural History), a fundraising video for the regional United Way, and recruiting videos for technical schools. Lighthouse’s field production package also includes Panasonic’s AG-HVX200 handheld P2 HD camcorder and BT-LH900A LCD HD field monitor with built-in waveform.
Spiess, a longtime proponent of DVCPRO-based production, has been producing, shooting and editing video for 35 years, working on diverse projects including major live event broadcasts, television news reporting, documentaries, corporate videos, training and instructional videos. He has won numerous awards including a regional Emmy for his work.
Lighthouse’s ongoing production work for the University of Florida’s Athletic Department and renowned Documentary Institute has always been driven by Panasonic DVCPRO gear, beginning in 1998. Over the past nine years, Lighthouse has worked for most of the major networks, numerous large corporations, and a number of non-profits.
"First, the HDX900 shoots beautiful pictures. Couple that with a Fuji 13X4.5 super wide angle zoom lens, and the pictures are breathtaking," he said. "The quality, low light sensitivity and the sharpness of the HDX900 2/3" chip set was a key factor in our purchase decision. I can’t stress enough how important it is to have 2/3" chips for low light shooting. The smaller chip cameras look fine when there’s a lot of light, but we routinely get asked to shoot where there isn’t much light, and that is where the HDX900 shines."
Spiess purchased the HVX200 in partnership with a DP colleague in 2005, shortly after the camera began shipping. "That started Lighthouse’s transition to HD," he said. "We upgraded our two Final Cut Studio suites with AJA Kona LH I/O cards, purchased HD monitors and hard drive arrays, and bought the AJ-HD1200A DVCPRO HD deck. Having the HD deck made the choice to go with the HDX900 an easy one."
"The HDX900 and HVX200 work incredibly well together," Spiess continued. "It’s such a luxury these days to have a small form-factor HD camera that shoots the same format as your large HD camera. No one else has that sweet combination. You can get footage from the HVX200 that you just can’t with the HDX900 — such as variable frame rate shots — and the HVX200′s smaller size allows you to put it in places you can’t get to with a larger camera.
"We recently used the cameras together on a shoot for the museum in a creek bed where kids where looking for sharks’ teeth," said Spiess. "The HVX200′s size allowed us to use a smaller jib that was a more cost-effective choice. The footage mixed so well that it was hard to tell the difference between the two."
Spiess said he tends to favor the cameras’ film-like looks, and appreciates the ability to shoot in different frame rates.
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