Is the A1 good in off to print to FILM??

K

KETCH ROSSI

Active member
Hi every one,

First I like to thank Jarred for the two best sites He has provided me with (dvxuser first, REDUSER later) as I have not only enjoy this sites, but I have extensively learned and benefitted directly from them wile recovering first from a severe accident to my knee wich left me immobilized for almost a year at home, so again Thanks Jarred.

My reason for this post is that I have to produce a film for December realese and because my RED cameras will be(I hope) delivered to me just about november/december, I just purchased a XH-A1, my question comes down to the power of resolution of this camera to be capable to print to film for Cinema screening, I know that I must record to direct hard drives bypassing tape, already have the Focus FS-4HD 100GB but it only records 720/24f in native QT/HDV, so I think I will have to buy the FS-C instead to be capable of recording 1080i/24f in QT/HDV.

Any way what I like better it is for you guys to help me make the correct purchases for this project(will not rent).

The final out put must be for the FCP2.

I will use a REDROCK m2 adapter.

I will use ZEISS/F lenses.

I will use MAC computers.

Please be as specific as possible.

Once I know for sure that this is the camera for the project I then will be looking to hire a DP to operate the camera set up.

Thanks so very much in advance and Apologies in advance for the many questions that most likely I will make to all of you wich may responde to this post, so please be patient with me as I have a great deal of passion for what I do and no first hand expirience, this will be my first project, self financed and all, I know it will be a good expirience before I get my RED's, but I also know that I will depend on the onest help and participation of others.

Ciao

KETCH ROSSI
www.KETCHFRAME.com
 
You do understand though, that even shooting on disk does not mean bypassing the HDV signal as it is? Only shooting in a (non-portable) situation with the camera connected to a computer with analog HD i/o system frees you from shooting in the HDV codec. So shooting to tape or to the FS-c wil give you equal results.
 
NO, I was under the impression that if you shoot direct to the FS-C I was going to get way better image then recording on tape, so this is wrong?

Then the best way will be?

Ciao,

KETCH ROSSI
 
KETCH ROSSI said:
NO, I was under the impression that if you shoot direct to the FS-C I was going to get way better image then recording on tape, so this is wrong?
Click to expand...

Yea, the video going throug the firewire is already compressed, so quality is identical to tape. The way to get best quality (but not necessarily the best way of doing it) is to buy a component capture card ($1k and up) and tether the camera to a computer for live recording. This way you bypass the compression. Obviously unless you're shooting in a controlled studio environment, this isn't practical. And then you better have a monster computer with RAID to edit the stuff you captured.
 
As I need to get the most out of the camera I like to know more about this option, card brand link, and could a new Macpro laptop do the job?

Ciao

KETCH ROSSI
 
No they will not, but as I also have the tower they will be okay, will need to have everithyng on a dolly.

Thanks for the links I bookmarked them so I can compare them.

I just hope to find a doable workflow with this camera or I will have to sale it and get an other HD camera for this project.
Ciao

KETCH ROSSI
 
Many films have been shot on much worse cameras and made it to film. Supersize Me. 28 days later. Full Frontal. Open Water.

All of those were shot in standard def DV. You are talking about a major jump in quality and resolution with this camera. If your content is good, nothing can keep it from the big screen. I would focus on the content now that you have a perfectly acceptable camera.
 
Yes, I could not agree with you more that content is by far the most important off all, but I still have to try and get the best out of this camera as I can and this is what I'm tryng to find out in this postings.

Ciao,

KETCH ROSSI
 
KETCH ROSSI said:
I just hope to find a doable workflow with this camera or I will have to sale it and get an other HD camera for this project.
Ciao

KETCH ROSSI
Click to expand...

The only other HD cam in this price range that might do what you want is the HVX with its 4:2:2 color space. But at this point it's hard to get P2 card for it as there is a shortage and you need to be familiar with the workflow before starting a project of any magnitude.

It's been said, but the camera doesn't make the film, content does. A this price point you just can't get everything you want; even the HVX have limitations. If you have the cash for it then step up to the big cameras like the HPX500, Varicam or CineAlta. But you'll be better off just investing in some decent lighting or DP because I can guarantee that's going to make a much greater difference than the camera will.
 
As I'm to get 3 RED cameras I do not want to go creasy on an HD camera now to be used only in one project, but also I know I will use it for behond the scene once I do a larger production(I hope so at list), so now it is obvious to me that I must very carefully choose my DP, as far as the story I believe in it very much and I also know it will make it a great first expirience.

I also happened to read other posts and I believe you where in few of them so forgive me if I make repeat your self.

The best way to get HD 1080i/24F out of my XH-A1 is true the firewire port, correct?

Both in a portable media recorder such as the FS-C or direct to the computer should make no difference as the out put from the Firewire will remaine the same quality, correct?

I obviously like to keep the money for the shoot and not over spend on toys that will only give you very little difference for the money.

I just want to give my DP(wen I find one) the best tools I can to get a quality product out of His/Hers work and out of my story.

Thanks again for any responses and for this one.

Ciao,

KETCH ROSSI
 
Thanks, at list this is out of the way and now I know that I have to sale out my FS-4 HD and replace it with the FS-C in order to capture 1080i/24F in native QTHDV for FCP2.

Ciao,

KETCH ROSSI
 
KETCH ROSSI said:
Both in a portable media recorder such as the FS-C or direct to the computer should make no difference as the out put from the Firewire will remaine the same quality, correct?
Click to expand...

jade8472 said:
Correct
Click to expand...

Yeah jade is correct.
As long as you use the firewire the FS-C or direct to computer quality will be the same as tape. But if you use component cables (instead of firewire) and one of those capture cards u can get better quality.

Also i hear u cant capture footage in DVCPRO HD same as the HVX. So when it comes to hard drive space u would need exactly the same as if u where shooting with it. Plus u wouldn't need as fast a raid as u would need for other formats.
 
deedive said:
Yeah jade is correct.
As long as you use the firewire the FS-C or direct to computer quality will be the same as tape. But if you use component cables (instead of firewire) and one of those capture cards u can get better quality.

Also i hear u cant capture footage in DVCPRO HD same as the HVX. So when it comes to hard drive space u would need exactly the same as if u where shooting with it. Plus u wouldn't need as fast a raid as u would need for other formats.
Click to expand...

Okay, now I understand that you need to connect direct to a large system to record via component, lets say with a computer on a dolly, duable, but for the money and afort is the much difference in the final out put, or is best to stick with the FirewIre approach and if needed take care via Cineform or similar software?

Thanks,

Ciao,

KETCH ROSSI
 
KETCH ROSSI said:
The final out put must be for the FCP2.

I will use a REDROCK m2 adapter.

I will use ZEISS/F lenses.

I will use MAC computers.
Click to expand...

I am going to throw you back a couple of posts and say for ease record to the firestore c. And for performance get a good DP.

Using the above you can create a quality product. (not mentioning light and sound as you didnt - so I assume youre set).
 
The new AJA I/O HD makes it possible to shoot high quality 4:2:2 to a MacBook Pro using the new ProRes codec, (possibly without a RAID too) which is superior to DVCPRO HD. But if you'd even consider doing tethered shooting, I would step up to a G1 and get embedded HD SDI output, otherwise you will need an analog HD to HD SDI converter box because you won't get very long cable runs with analog component from the A1.
 
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hay Elton, didn't know about the AJA. How much is that bastid? looks like it would be way out of my price range.
 
ncje said:
I am going to throw you back a couple of posts and say for ease record to the firestore c. And for performance get a good DP.

Using the above you can create a quality product. (not mentioning light and sound as you didnt - so I assume youre set).
Click to expand...

Yes the firestore true firewire recording it is the ease of use, but how the quality comperes to HD-SDI?

And yes I will be try my best to find a great DP in California for this project, ease to find one but no ease to get one at the price I can pay now.

And yes I already have a 3 ton grip package(kind of) and over 50k of fresnel tungstens with a 16' trailer gennies ecc.

This production difficulty is in the camera set up because I was not prepared to shoot with anything but my RED's cameras, but as I will not get them till years end I now have to find a alternative camera just for this shoot.

So money is a matter but up to $10,000.00 is okay, but must be a complete camera solution.

Thanks for your imput.

Ciao,

KETCH ROSSI
www.KETCHFRAME.com
 
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