35mm adapter on big screen

codar22

codar22

Active member
Im in the process of getting a camera to shoot this next feature film.
I would rather buy something then waste my budget on renting a bigger camera.
I was thinking about an hvx set up with a 35mm adapter and some nice primes.

Its seams that most ppl that are using this set up are just down converting to dvd for delivery
In my case its different. I need to deliver a hd master ready to be played in theaters!
Am I dreaming when i think that an hvx with 35mm adapter will hold up?

My last feature I shot with the jvchd100, and when on the big screen looked not too bad. but i was using the stock lens, and we all know its not the greatest.

Another questions is, which 35mm adapter to go with, I see alot of ppl shooting with the redrock, letus, and Sgpro, is there a link to a shootout review somewhere that i have not come across ?


Thanks
 
the canon a1 accompanied with letus or sgpro would be ideal but the hvx and sgpro or letus wouldn't be bad either.
 
In my humble opinion, if your main consideration is LARGE SCREEN exhibition, then I'd have to recomend the Letus Extreme.
 
Don't be too concerned on the overall sharpness between all adaptors. I would much more be concerned with Bokeh and low light performance. You can add perceived sharpness in Post-Production (not unlike adding sharpness in Photoshop to stills). This is also the stage were I seriously recommend you to keep a considerable budget available. The better the post production house and its integration with the film out/mastering process,, the better your film will look.

If you want it to look good in a film out, let a post house do your grading and conforming to the process. DO a Offline edit with a "look"you want to achieve, then export an EDL and supply the master footage for the Post- Guys to do grading in a Da Vinci. Expensive as heck, but your movie will improve (picture wise) very significantly.
 
honestly, depending on how much your budget allows, you might want a couple different adapters, to cover the above mentioned points of light loss and bokeh.

for bokeh, it seems majority prefer the sgpro.

also, Cinevate has multiple interchangeable Ground Glass elements for the Brevis.

and search the sweet jesus out of this site. tons of great footage from all the adapters.

just make sure you, no matter what you order, get it or them plenty of time before
you need to start filming, make sure you know your set ups inside out.
 
Maverick? Magnolia Pictures? Or Maverick a community member?

I've had some work exhibited in the Kodak Theater, HVX @ 720p and M2 (YES! The M2) And it looked incredible.

That said, I've heard other people say that SARAH LANDON looked awful blown up and that was also HVX + M2.

It's plausible, you'll have to really experiment with the equipment. A good way to do this is to find someone with a HI-Res Projector and take example footage straight out from Camera to the Projector. That's not a Film Transfer, but it's a chance to see your footage blown up to more than 15 feet if the projector is large enough.

This way you can start playing with settings for optimal performance.
 
FREUDENBERG_FILMS said:
nice website and score.

Will this be offered in English?

Cheers

Michael Freudenberg
Click to expand...



Well...i dont know. Just imagine, i just brought a stedicam bodyarmour, a hvx200 pal (by the way, selling my fs100 ntsc in ebay because theres no compatibility!), the SGPRO, filming in spain then in santo domingo (my country).... i will give thanks to God if i have money to do the film out!!!....( by the way...were can i do a good company that sponsors me or give me a good price on the film out!)
ah..my brother is doing the original score of the movie.

But, when the movie is done, by september, i will put it online , just for you guys!
 
SPZ said:
Don't be too concerned on the overall sharpness between all adaptors. I would much more be concerned with Bokeh and low light performance. You can add perceived sharpness in Post-Production (not unlike adding sharpness in Photoshop to stills). This is also the stage were I seriously recommend you to keep a considerable budget available. The better the post production house and its integration with the film out/mastering process,, the better your film will look.

If you want it to look good in a film out, let a post house do your grading and conforming to the process. DO a Offline edit with a "look"you want to achieve, then export an EDL and supply the master footage for the Post- Guys to do grading in a Da Vinci. Expensive as heck, but your movie will improve (picture wise) very significantly.
Click to expand...

I disagree with this from a production point of view. If your goal is to get theatrical distribution then you should realize that a distributor will be willing to spend the money to reprint the film. Your goal really is to get it "good enough" for festivals. If the decision comes down to adding a few days to the production vs. reserving those dollars for better grading and conforming, I say extend the shoot. You'll get better footage into the final product.

This is just my opinion, but these are the decisions that we must all make as producers.

Bob
 
Kholi said:
Maverick? Magnolia Pictures? Or Maverick a community member?
Click to expand...

Damn, why do I keep saying Maverick? Its Magnolia. I saw the trailer in the theater and it looked good. I didn't know anything about the production at the time and was not aware of its HDV roots.
 
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