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Posted by mv on 10/01/52 11:45
Started working in Film and TV in the early 70's myself, though broke
away for a decade to be a rock'n'roll roadie before getting back to TV
with Moving Vision in 1984.
It's not reasonable to compare PD170's with $50K or more rigs. They have
different uses. I would say however that if you can't find the manual
white balance and other controls for these types you'll be a member of
that big Beta club who never could get to grips with these pesky fly by
wire cameras anyway. I was always struck by how some great cameramen
were utterly useless with PD150/170's. They do require a zen mind
shuffle when going from a Betacam type.
The assertion that a 150/170 is not a professional camera clearly
assumes that the comprehensive manual set ups and tweaks offered by them
is something that consumer amateurs also expect. NOT
There's a whole schedule full of programmes that a PD170 can shoot where
an OB unit with multiple $50K rigs would be as useless as a three legged
donkey at a steeple chase. Conversely we wouldn't expect to cover that
race with a PD170, though we might get some interesting behind the
scenes insights.
These heavy weight studio engineering and OB truck realities have little
to do with those intrepid film makers who get out there with a single
camera, across diverse locations, often multitasking everything.
The luxuriant nit picking of the former reality has little to do with
creating content. Apart from the fact that both worlds are using cameras
the similarities end right there.
--
John Lubran
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