Barry_Green
Moderator
I think it's all good now, I think we've sorted it out. No spamming of the membership will be tolerated on DVXUser, that's for sure. If anyone gets spammed, let the moderators know.
DP of "24" hit tv show does a adapter and camera shootout
- Thread starter nycfilmmaker
- Start date
- Status
Neopics said:
Absolutely I want the P2 card.... it is still on order from the store where I bought the HVX from.
I've thought about getting the card from another place, but figured I'd wait the two weeks or so. My dealer quoted a good price, and since they are out of province, I don't pay the PST tax.
I'll pm you when the card get in.
J.R. Hudson
Spirit Animal
I've completely forgotten what I was thinking after reading the last 4 pages.
Jeez.
Infinty is not 98 on the DVX Barry (93 or 94 depending on which Model). Is this probable for the HVX ? Meaning;
Does full wide need to be brought back a bit ?
Jeez.
Infinty is not 98 on the DVX Barry (93 or 94 depending on which Model). Is this probable for the HVX ? Meaning;
Does full wide need to be brought back a bit ?
Anders Holck
Well-known member
Plus, when recording 25p you should get a higher datarate per frame than at 24p on the 60i model. 512 KB per frame versus 426KB per frame in 1080, and 256 KB versus 213 KB in 720. And when recording 25P in 1080 there is no pulldown to think about.
If this will make a difference is unknown, for now
If this will make a difference is unknown, for now
Nice thread.
You know, I've shot not less than 500 hours with the HVRZ1U and I think that camera holds up well. So does TLC and DCI. We recently put these things into CineFrame 30 for a large documentary project in Texas and I have nothing but good to say about the Z1U.
I don't think it has a huge latitude and you've got to work at high shutter and long lens to get any DOF out of it, but that isn't different from any other 1/3" chip imager. I've begged the EP and networks to allow us an M2 for interviews on the Z1U, and that's when they throw F900s with Canon HDEC glass at us and I suffer.
Oh, how I suffer...
rogar-BigGrin(DBG)
Overland Films is embracing the HVX200 as our primary workhorse for lower budget progressive acquisition. We will continue to use the CineAlta and hire VariCam when warranted.
The Z1U is a very special camera - solidly built and perfectly suited to use in documentary and reality television.
I'd argue that there are more Z1Us working in broadcast today than any other cameras combined. I have no empirical data to back this up, just the knowledge that dozens of houses we work with on a regular basis own six to twelve of the HDV cameras and that they originate much of what we watch on cable utilizing them almost exclusively.
As intriguing as this 24 article is, it is also important to remember that these are incredibly seasoned, professional, single-camera film guys who have literally just gotten to the party. They're still just kind of staring at the keg in wonder, while we've been tapping it with garage-built DOF converters and kit-bashed follow-focus mechnisms for a couple of solid years now.
Innovators like P+S and RedRock, Andromeda and Barry (who wrote the book on the revolutionary DVX after all) have been at the party for a few years now, urging, teasing and coaxing incredible, megaplex-worthy images out of cameras costing less than $5000.
I won't recount the whole story of Joan of Arcadia again, or how the D.P. of this first primetime CineAlta show had never seen a DOF converter before I put him onto it through the show's Art Director who was suffering terribly under infinite focus conditions. These guys work in a vacuum and they're just starting to realize that there is a revolution underway.
In all fairness to the manufacturers who had a dog in the comparison and the film savvy, but digitally inexperienced, technicians of 24, I'd offer that you have to take this article with several grains.
e
You know, I've shot not less than 500 hours with the HVRZ1U and I think that camera holds up well. So does TLC and DCI. We recently put these things into CineFrame 30 for a large documentary project in Texas and I have nothing but good to say about the Z1U.
I don't think it has a huge latitude and you've got to work at high shutter and long lens to get any DOF out of it, but that isn't different from any other 1/3" chip imager. I've begged the EP and networks to allow us an M2 for interviews on the Z1U, and that's when they throw F900s with Canon HDEC glass at us and I suffer.
Oh, how I suffer...
rogar-BigGrin(DBG) Overland Films is embracing the HVX200 as our primary workhorse for lower budget progressive acquisition. We will continue to use the CineAlta and hire VariCam when warranted.
The Z1U is a very special camera - solidly built and perfectly suited to use in documentary and reality television.
I'd argue that there are more Z1Us working in broadcast today than any other cameras combined. I have no empirical data to back this up, just the knowledge that dozens of houses we work with on a regular basis own six to twelve of the HDV cameras and that they originate much of what we watch on cable utilizing them almost exclusively.
As intriguing as this 24 article is, it is also important to remember that these are incredibly seasoned, professional, single-camera film guys who have literally just gotten to the party. They're still just kind of staring at the keg in wonder, while we've been tapping it with garage-built DOF converters and kit-bashed follow-focus mechnisms for a couple of solid years now.
Innovators like P+S and RedRock, Andromeda and Barry (who wrote the book on the revolutionary DVX after all) have been at the party for a few years now, urging, teasing and coaxing incredible, megaplex-worthy images out of cameras costing less than $5000.
I won't recount the whole story of Joan of Arcadia again, or how the D.P. of this first primetime CineAlta show had never seen a DOF converter before I put him onto it through the show's Art Director who was suffering terribly under infinite focus conditions. These guys work in a vacuum and they're just starting to realize that there is a revolution underway.
In all fairness to the manufacturers who had a dog in the comparison and the film savvy, but digitally inexperienced, technicians of 24, I'd offer that you have to take this article with several grains.
e
holditnowfilms
Well-known member
John_Hudson said:
If there is a sweet spot I would definitely like to know about it. I keep the cam on ft not the 0-99 meter. I noticed if you pull it all the way back it does goe completely off then as I turn the focus ring it comes into focus... keep turning in goes out... keep turning and it comes in focus again. So I find two in-focus spots at different positions on the ring. Am I crazy on this? I assume it may be for Macro shooting.
I know on many still photo lenses, there is a bit extra range on the focus ring after the infinity focus mark. I forget what the little bit extra is called and what it is there for. I thought it had something to do with the fact how the infinity focus point can move a bit depending on conditions.
My Canon EOS lenses have it marked on the focus ring.
My Canon EOS lenses have it marked on the focus ring.
Mmm... beer...
Mmm... beer...
:beer: I've always had success with beer analogies. :beer:
Mmm... beer...
:beer: I've always had success with beer analogies. :beer:
Rhydon
Well-known member
Ok John, im in Normandy, and im on a shoot. Ive managed to dial some pritty nice results out of the HVX. As an act of honor to the camera and the HD100 vs HVX comparison, ive decided to host a good framegrab of one of my shoots.
Im pulling a rack focus on the barbwire, but as you can see, the parts that are in focus are very sharp.
Sorry for the fuss. Im keeping this camera.
Im pulling a rack focus on the barbwire, but as you can see, the parts that are in focus are very sharp.
Sorry for the fuss. Im keeping this camera.
J.R. Hudson
Spirit Animal
I want more !
Normandy ? Show me show me !
(I'm about finished reading D-DAY by Ambrose)
Normandy ? Show me show me !
(I'm about finished reading D-DAY by Ambrose)
The Machinist
Respected Member
That's a pretty sweet frame grab.
Send us some video when you can Rhydon.
Send us some video when you can Rhydon.
Nice work, Rhydon.
I'm an FX1 owner. Unfortunately, I had a job early last year that required inexpensive HD, and that was the only option at the time. Most of the work was non-broadcast and sports-related, so the camera worked fine, but I'm looking to make a change to a 24p camera.
I've directed a number of national spots using the Varicam, so I'm pretty jazzed about DVCPro-HD as a format, but this article did make me think twice about giving the JVC a look. (Not necessarily for spot work, but for indie films - both narrative and docu.)
A big consideration for me is how the format will handle the rigors of high-end post -- color correction, compositing, etc. My assumption is that once you've put the HDV footage from the JVC through the mill, the MPEG compression will become painfully obvious. (An editor friend has complained often about the workflow with the JVC.)
Has anyone done side-by-side comparisons of the two cameras and taken the footage through an aggressive round of post? I'd love to hear your results.
I'm an FX1 owner. Unfortunately, I had a job early last year that required inexpensive HD, and that was the only option at the time. Most of the work was non-broadcast and sports-related, so the camera worked fine, but I'm looking to make a change to a 24p camera.
I've directed a number of national spots using the Varicam, so I'm pretty jazzed about DVCPro-HD as a format, but this article did make me think twice about giving the JVC a look. (Not necessarily for spot work, but for indie films - both narrative and docu.)
A big consideration for me is how the format will handle the rigors of high-end post -- color correction, compositing, etc. My assumption is that once you've put the HDV footage from the JVC through the mill, the MPEG compression will become painfully obvious. (An editor friend has complained often about the workflow with the JVC.)
Has anyone done side-by-side comparisons of the two cameras and taken the footage through an aggressive round of post? I'd love to hear your results.
wannabef said:
Well you wouldn't actually work in HDV... you'd use an intermediate like Cineform, Apple Intermediate Codec or you'd go with DVCPROHD in post. On a Mac you'd be better off with an AJA Card and coming in through the component outs. So add $1500 for that unless Apple releases a better solution in Final Cut 6.
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Steve_Parker
New member
overlandfilms said:
In reply to Overland Films' comment above, I think it's a tad unfair to represent to Taylor and Rodney as guys who have "literally just gotten to the party". Not only have both DPs had extensive previous experience of shooting with 1/3in chip cameras, but these tests were not carried out in a vacuum.
The 24 tests represent the latest round in an extensive series of tests that Showreel magazine has been conducting, starting with our test of the DVX100 in August 2003, through the first test of the JVC HD10 in November 2003, and subsequently leading to over 100,000 printed words on HDV cameras, technologies, cutting-edge projects and investigations of post workflows. DPs such as Geoff Boyle of the CML and other senior CMLers, such as Phil Rhodes and Dan Lightening, have contributed significantly to our ongoing tests, and I think you'd be hard-pushed to characterize Geoff, who demo'ed the first Vipers back in April 2002, as a "single-camera film guy".
A good many of these articles have been put on line and are for the most part free to read at www.showreel.org/memberarea
I think we've all been at the same party, but possibly in different rooms up to now.
Regards
Steve "you'll always find me in the kitchen at parties" Parker
Editor, Showreel magazine
Emanuel
Cross-Examiner
Steve, you're welcome@our forum and it is a honor/honour to have you posting here. I hope not just today...
Congrats for your excellent work there. I remember the first part of this camera shootout that I had the chance to post among us, here. Go ahead with more unbiased filmmaking POV articles, so much appreciated.
More free viewing articles will be a good policy to promote your excellent product. Otherwise, with so many sources free@web, nowadays, it will be difficult to find good stuff like yours.
EDIT -- BTW, KUDOS for your unbiased concern regarding your independence to the manufacturer brands. I read the story here and it is "the" example like any tester publisher must accomplish. True above all!
Congrats for your excellent work there. I remember the first part of this camera shootout that I had the chance to post among us, here. Go ahead with more unbiased filmmaking POV articles, so much appreciated.
More free viewing articles will be a good policy to promote your excellent product. Otherwise, with so many sources free@web, nowadays, it will be difficult to find good stuff like yours.
EDIT -- BTW, KUDOS for your unbiased concern regarding your independence to the manufacturer brands. I read the story here and it is "the" example like any tester publisher must accomplish. True above all!
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Well there you go. Maybe they've just been over in the VIP room with all those hot girls that... well, they're hot anyway - I'll just leave it at that.
Steve, you're absolutely right - it's an unfair generalization to put all those guys in one classification as "new to video" or digital filmmaking or whatever. I was simply extending my firsthand experience with JOA to the 24 piece because there was, at least in the first article, a tangible tone of wonderment over the DOF converters in particular.
Hopefully, we're all much closer to the VIP room now. I for one would like to come in off the porch.
e
Steve, you're absolutely right - it's an unfair generalization to put all those guys in one classification as "new to video" or digital filmmaking or whatever. I was simply extending my firsthand experience with JOA to the 24 piece because there was, at least in the first article, a tangible tone of wonderment over the DOF converters in particular.
Hopefully, we're all much closer to the VIP room now. I for one would like to come in off the porch.
e
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