Shooting with 35mm blow up in mind

R

rshefton

New member
I've bought a shiny new HVX200 to shoot a short and a feature with, and was hoping someone could give me some pointers on considerations for shooting with a 35mm blow up in mind.

I have some specific questions (below) but ANY pointers would be hugely appreciated:

1) scene file settings - I have the excellent barry green book and associated scene file presets, and a basic working knowledge of each setting's function, but am interested in pointers specifically for film transfer at front of mind.

2) res - I'm torn between 1080 24PA and 720 24PN. Obviously the higher res is generally better, but I'm wanting to shoot some slow mo (720 60P), and am attracted by the extended record times for my P2 card at 24PN. Is the 20-30% reduction in res at 720 THAT noticable for a 35mm blowup?

3) exposure - I've heard tell that everything needs to be brighter when shooting on video with 35mm blowup in mind - is this always true, and are there any practical metrics I can use (e.g. marker readings across the fram or setting the zebra to a certain percent and seeing an amount of zebs within the frame)?

Many thanks in advance for any help you can provide.
 
As the post production pathway you choose will have as much affect on the transfer as the image you capture, I suggest you talk to whoever you are thinking of using to do the blow up as they will have their own set of specifics when it comes to the "best" settings for the HVX/35mm transfer equation.

Pete.
 
Guus said:
I thougt the HVX could shoot slow mo on 1080 or did I get the message wrong.

Guy,
Click to expand...

Only slowmo at 1080 is interlaced - 60i, so no good for film transfer. 60p is available in 720.
 
peter orland said:
As the post production pathway you choose will have as much affect on the transfer as the image you capture, I suggest you talk to whoever you are thinking of using to do the blow up as they will have their own set of specifics when it comes to the "best" settings for the HVX/35mm transfer equation.

Pete.
Click to expand...

Exactly. Agreed 100% Peter.

I would suggest, in therms of format to shoot, to go 1080 24p, and do the slow motion shots in 720p 60. You can uprezz the shots using media manager to 1080 24p, and the visual difference is barelly noticeable. (about 15 % less sharp, according to Barry). I know this because I've done some tests trying to mix uprezzed 720p25 to 1080 25p footage with native 1080p25 footage, and, in a 32" HD 1080i crt, the diference is only noticeable to the clinical eye.
 
Before embarking on any project that is destine for film output, I can not stress how important testing is. You need to work with your film out lab and fully test your process, all the way through, under shooting conditions that you intend to use.

You need to negotiate with the lab you choose for a few tests. The costs for a film out are so high that you shouldn't leave anything to chance.
 
Great, thanks for your advice guys, really invaluable. I don't actually know who I'm going to use for transfer, as the funding body may take that decission out of my hands, but I'll find out the most probable lab and see what it'll cost to run some tests.

Comforting to know 720p 60 will uprez ok, as 1080 24p is my prefered for the rest of the shoot.

Thanks again!
 
Where was the uprez HVX stuff in The Departed (haven't seen it yet) - are you talking specifically 720 60p into 1080 24p?
 
They used it for tests in the departed. I'm pretty sure they didn't use it for the final product. Great movie though.
 
An HVX shot did make it into the final. We had someone here interview Rob Legato and he confirmed there's a shot that is in there.
 
Barry_Green said:
An HVX shot did make it into the final. We had someone here interview Rob Legato and he confirmed there's a shot that is in there.
Click to expand...

Now of course we all need to know exactly *which* shot(s) so we can watch and agree/disagree on the merits/the lack thereof...

: )
 
well...

well...

Well, if we can't tell which is which by watching it... Thats a good sign. means that whatever it was, it looks just as good as whatever they shot the rest of it with.

Just my $0.01
 
It's so funny how all of these uber-celluloid directors and their DPs are actually succumbing to using digital formats, after an era of such snobbery about it. Scorcese is very surprising to have shot in digital, even if it's only a shot or two. David Lynch is also a huge proponent of digital. Even Spielberg is finally letting go of celluloid, however begrudgingly.

http://www.time.com/time/arts/printout/0,8816,1173367,00.html

It's a brave new world!
 
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