Such a device could be made,however, there would be a number of disadvantages. First, the overall focus range would be very limited, certainly not from infinity to closeup, but rather a dioptric correction...much like eyeglass lenses. Second, in order to maintain the overall lens light collecting ability (F number), the device would have to be substantially larger, in diameter, than the basic lens. These two problems really make this kind of device impractical.

Anyone know a good place that will host my site? I want to put video on there and Geocities won't let me. If anyone knows...tell me please. Thanks and see ya.
Ben

How much video? I could maybe put it on my VX2000 Companion site.

I bought the VX2K today
 

I chose the VX2K over the PD150 because I just didn't want a B&W viewfinder and the XLR and mike setup were questionable in my mind.

I plan to put either a sennheiser k6 with a ME66 shotgun or an Audio technica 835. This isn't written in stone yet but indicates my direction.

I'll either get the Beach Tec 4 (passive)or 6 (with the phantom). The controls are right up front and the jacks and switches are out of the way.

I looked at the audio technica shock mounts.

I'm trying to figure a better way of mounting the mike. Something like the Videosmith mini rover.

The mighty wondercam with belly bar certainly has possibilities too.

Better than the mighty wondercam is the VariZoom VZ-LSP shoulder brace with drop-down ab support. Check it out at http://www.varizoom.com/pages/lsp.htm -- it was invented by Peter Lisand. The wondercam is just a knock-off of this design.

Filtre threads spongey
 

The 58 mm filter threads are a bit spongey. The UV filtre threads but certainly not the way I would want. Anyone else notice this on their cam??

Shotting Stage - Theater Productions with a VX2000
 

So I just got my shiny new Vx2000. Wow. Everyone here knows how great this thing is so I probably don't need to go into it...

However I do need some advice on shotting a stage production. The stage is rather large and there is some movement that goes on that I will be following. I am set up with a tripod on the "balcony" centered on the stage. I have a direct audio feed coming off the board. (Very Nice).

My problem comes in getting the damm faces exposed correctly. I have no clue which settings to use; Backlight, spotlight, AEs, AEa...manual shutter, manual exposure?

Does anyone have any tips? In getting everything to look decent. Obviously I don't care if I lose some exposure of the satge or some lighting details, I would just like people to be able to see the actors when they watch the tape.

Thanks for your help!

P.S. thanks for the really great forum!

Howdy from Texas,

With an XL1, I shoot theater in Manual mode, with the shutter speed locked at 1/60 and constantly riding exposure. The big challenge is to keep the iris open as much as possible to separate black costumes (stockings, etc.) from a black backdrop, without overexposing faces. The zebra pattern in the viewfinder comes in handy for this purpose.

My suggestion is to take your camera to full dress & tech rehearsals, where the costumes and stage lighting will be exactly as a performance night, and experiment and tweak to your satisfaction at a leisurely pace allowing you to concentrate on exposure. Make some notes, and you'll be set for opening night. Hope this helps,

Thanks for the info. I went to the first nights performance without tweaking settings, the second night I got it a little better. I had the shutter speed higher, and still had to ride the gain the entire night. I wish the camera had a system to make the gain changes mroe gradual. Oh well, I realize that that's not technically feasible, but it would be neat nonetheless.

Thanks again for your reply!

I find that the more difficult the lighting, the more I want either a relatively large video monitor right beside me or I want my portable waveform monitor.

When college is in session, I shoot 2 hours per week for an acting for television class. For normal days, I use a large monitor in the studio to set up the camera. For the days when we go on location, I really depend on the waveform monitor (runs off a NP-1B battery) to set the exposure spot-on.

If I don't have one of those methods, then I depend on the 100 or 70% Zebra, whichever one will work best on the scene.

I don't think anyone makes a direct hairpiece for the 2000 but you might contact Light Wave and ask them. The do one for the Canon GL1.

Expect to pay about $150. But they work very well.

You can sort of make one by placing a foam wind screen over the microphone and then wrapping it in fake, dense fur. I did that until I found the Light Wave for my AT 835B and my PD-150 shotguns. It worked OK. Not great.

VX2000E , Anyone here got one?
 

Hey, Im just wondering if anyone here got the VX2000e (PAL version)?
How is the image qaulity and are the setting any different from the NTSC version.

IM also lookinf for a used one VX1000e or VX2000e, Ive been looking on ebay, but would rather buy from someone here....

VX2000 and new mics
 

I bought an AT835 with a Beach Tec today. I also got the Sennheiser wireless UHF lav. I had tested the mic at the dealers shop which was quit noisy. When I got it home and ran the mic on manual it seemed pretty low so when i raised the gain I heard the dreaded hiss. It seems the beach attenuates enough of the signal that when I set the gain over 50% to compensate I get hiss. Boo hiss!

If I run the audio on autogain everything is fine.

Following my disappointing AT 8035 trials I set up the Sennheiser UHF lavalier. What a difference.I havre absolutely no complaints, the shotgun should sound so good.

Monday the AT goes back and the ME66 comes home with me.

make sure that when you have the AT 835 plugged into the beachtek ( if you are feeding both channels) that you have the other volume level ( the one mic is NOT plugged into) turned UP all the way ........... also it is BEST if running just 1 mic to have it fed to BOTH channels ...........