DV Info Net - HVX200 2-day professional training in Austin

HVX200 Training Camp
The 2 day Comprehensive Panasonic HVX200 HD Camera Training Program

Monday, July 31st - Tuesday, August 1st

This is a professional-level training class that would normally require travel to LA or NY to attend.

Omega Broadcast Group
817 West Howard Lane
Austin, Texas 78753
(512) 251-7778

Class Objectives:
-To provide comprehensive training to current HVX200 owners as well as serious professionals considering an HVX purchase.
-To broaden the understanding of P2 technology.
-Minimize tuition to allow broad access to the information.
-To provide the best and most knowledgeable and complete instruction available on the HVX200.
-No sales pitches from sponsors.

Organizational Structure:
-Attendees are encouraged to bring their own cameras, but a limited number will be made available.
-Attendees will be charged the following rates:
-2 days: $550.00 ($450 early registration)
-(Paid registration deadline July 26th)
-(Early registration deadline July 14th)

The Instructor:
Michael Caporale

Michael Caporale, a multi-hyphenate Writer, Producer, Director, DP, DIT and Editor has weathered the many ups and downs of production while embracing the new technologies that are redefining the business. As the first Director of Photography to embrace the VariCam in feature film production, in September, 2001 he DP’d “Tattered Angel” and now has lensed seven independent films with VariCam, including several documentaries, as well as music videos and commercials.

As consultant to Panasonic Broadcast & Television Systems, he advised the creation of the Filmmakers Grant program for the SDX900 and assisted Robert Goodman on both the Goodman’s Guides to VariCam and the SDX900, as well as authoring the many color set-up files that are included on CD with those manuals. Additionally, he was first to test the VariCam, the SDX900, the DVX100 and the HVX200, providing marketing footage for trade show use. Touring extensively for Panasonic Broadcast, Leader Instruments and Apple Michael has become something of an ambassador for the new technologies, speaking at dealer shows, trade shows and special events throughout the country. Earlier this year he was the NAB presenter on HD lenses.

As a former instructor for HD Expo’s VariCamps, Michael’s specialty has been teaching the Density and Color Workshops. Working through HD Expo he trained the National Geographic staff on their VariCams at their Washington headquarters. He now provides independent private training as well for other corporate clients, such as the Mayo Clinic.

With over thirty years experience as a commercial photographer, film-maker and Post facility owner to draw from, Michael bridges both worlds in his explanation of the new technologies and effortlessly defines the path for those who to desire to navigate the coming changes. His seminars focus on plain talk that bridges the gap of misunderstanding that exists between video engineers and creative users of 24P cameras and systems.

CALL (512) 251-7778 FOR RESERVATIONS!
A 3 day VariCam class (August 2nd - 4th) will follow the HVX class.
A registration discount is available for attendees of both classes.

HVX200 Class Curriculum:

Video Formats:
-Interlace and progressive
-Resolution
-Frame rates
-Aspect ratio

Film look vs. video look:
-Tonality and dynamic range
-Colorspace
-Frame rates
-Motion perception
-Artifacts

P2 technology:
-History
-Advantages
-The future

Camera tour, external overview:
-Switches, ports and functions

Camera tour, internal overview:
-Camera menus
-VCR menus

P, PN, PA:
-The why and how of it and when to use each.

Color space:
-Philosophy of color in acquisition
-White balance methods
-Absolute color, perceived color, user defined color and media biased color.
-Matrix and color adjustments

Dynamic range:
-Understanding exposure, gamma and knee adjustments.

Perception of Motion:
-Variable frame rates
-Variable shutter
-Panning the camera
-Strobing and Judder

Gain:
-Where does gain occur? How to avoid stacking gain. The affects of gain on noise levels. Other strategies for exposure.

Automated Functions

Improving focus

Using the Intervalometer

Frame buffering

Setting detail

Working with Timecode:
-External switches
-Internal menus
-Jam synching cameras

Saving files:
-Scene files
-User files
-The scene file dial
-Handy tricks

Multi camera shoots:
-The ENG cable, dual system sound, timecode slates, Flycases and component out for live mixing.

Downconverting in camera

Working with cards:
-Hot swapping
-In camera review
-Looping
-Storage limitations per format

Working with Firewire:
-P vs PN
-PA
-Firestore
-1200A deck
-Capturing live to a computer
-Other low-cost alternative devices & creative solutions

USB devices:
-The P2 store
-The 2 slot & 5 slot card readers
-Other low-cost alternative devices & creative solutions

Archiving:
-Videotape
-DVD
-DLT, SAIT, LTO
-Blue Ray
-Future devices on the horizon

Audio:
-In camera
-Accessory microphones
-Phantom power
-Wireless
-Mixing

Accessories:
-Batteries, cases, matteboxes, follow focus, filters, zoom control, tripods, converters.

Monitors and setup:
-Types of monitors—LCD, plasma, CRT, HDSDI vs component. SD vs HD. Downconverters. Focus & peaking, determining exposure. portability, projection.

The Fixed Lens:
-Why fixed? Backfocus, flare, white-shading, camera matching.
-Chromatic aberration
-MTF, vs. resolution.
-Lens adapters: Redrock, Century Precision Optics
-Depth of field

Native chip and camera resolution:
-The technology of Pixel shifting
-Resolution vs. sharpness
-Color space

Greenscreen:
-Factors that support successful greenscreen production.

Post workflow:
-The 4 workflow paths
-PC and Mac
-NLE Support
-What’s new?