Can someone make a feature on the DVX in this age of HD?

Mike Krumlauf

Mike Krumlauf

Award Winning Filmmaker
I'm working on getting my debut feature into production sometime this year or next. I currently have little to no money, and own a 7 year old DVX100 (yes the first model not the a or b) and i was just wondering if in this day & age of HD, RAW & HDSLRs, if it's possible to make a feature film on the DVX100 or if the camera & format is out of date?

I'm sure I could just sell my DVX and get the Canon t2i and shoot it with that, but there's something about the first DVX i just CANT give up. It's a workhorse, it made history with low budget filmmaking, it would be a hard sale for me.

Let me hear your thoughts.

Thanks,
Mike :)
 
If you take advantage of the camera's virtues, work around its weaknesses, and - most important - shoot from a really stellar script with a great story and compelling performances* then yes, sure, you can shoot a feature with your DVX. Heck, it's been done before.



*alternately you can produce a chunk of total garbage that for whatever reason is promotable and grabs people's attention for a little while. That works, too
 
As a personal choice, i wanted to shoot and master the film in the camera's native 4x3 ratio. Would this be frowned upon? i like the look...
 
Who cares if it's 'frowned upon?' If this is a personal creative project you are going to be stuck with the consequences of your creative choices, which means that they are entirely yours to make.
 
I agree with Sad Max...make the best film you possibly can using the resources you have. It's better to be shooting now than waiting to afford the latest and greatest equipment.

However, don't just go out and hit the record button. Test, test, and test some more. Learn how to maximize both the 4:3 aspect ratio and visual quality of your DVX.

And for heaven's sake, don't use the onboard mic to record your audio! :happy:
 
Of course you can, though I definitely understand the difficulty in rationalizing SD these days. It's really sad because the DVX IS a workhorse; it has great image quality for a 1/3" chip camera, and has an excellent feature set.

Its current price tag is honestly hard to believe given the existence of so many other HD cameras within a very close price range. Is demand for the DVX still truly that great that the price has been kept over 2k? Your idea to sell the DVX for a T2i is actually not a terrible idea, but you're forgetting the ancillary functions of an actual video camera: Superior audio recording, longer recording times, proper ergonomics, a video lens, etc. You'll be spending a bit more money on the accessories to make the T2i a usable video camera.

I WOULD consider upgrading as soon as possible, but hey, you're talking to someone who doesn't even own a camera, so what do I know?
 
Well i'm a cinematographer, so image is key. I don't plan on shooting my feature "mumblecore" style although its been brought to mind.

I just want to know that i can get an image out of the DVX that will hold up well on 35mm prints, and HDCAM masters.
 
I would go with the DSLR. I have own 3 DVX100 and I love the camera, but there is no way that I would shoot a feature on 1 unless I had all of my bases covered. And what I mean by that is a great post production team and a good gaffer. I have seen some amazing DVX100 shorts but what I have noticed is that the post team & gaffers on those features and shorts were above average.

Just my 2 cents.
 
Hey Mike,

I really appreciate your question and agree with most everything that has been said so far.

As a DVX owner myself who is likely to make a feature on it this year, I have addressed this very question numerous times on my website.

In a nutshell, this is what I (and many) believe: your camera must be chosen based on your directorial vision - your choice of camera must be an intelligent and intentional choice.

There are a lot of fools out there shooting on the RED just because it's the cool new fancy toy. That's asinine and amateurish. However, if you write a script and envision it being made on something like the RED or 35mm, then you must choose that format.

Seriously man, viewers are dying for heart and truth. Production value and camera aesthetics is a dangerous trap many filmmakers fall for. They basically end up making expensive looking, cinematic, "film-like" fluff.

Grab your kick-ass DVX and make your movie from the gut! Looking forward to seeing it.....

Peace,
Christopher
 
If your script, acting, and direction are brilliant: it won't matter what camera you shot it on.

If neither your script, your acting, or your direction are brilliant: it won't matter what camera you shot it on.
 
Macphilia said:
Production value and camera aesthetics is a dangerous trap many filmmakers fall for. They basically end up making expensive looking, cinematic, "film-like" fluff.
Click to expand...
Right. Turn on any modern movie or TV series, you will see licked-out colors, shadows and highlights, "filmy" blurred background, subtle (or not-so-subtle) camera tracking, etc. But what is the point if the plot sucks? Every time I see slow tracking from one side to another WITHOUT revealing a piece of info I haven't seen before I keep asking myself: why are they doing this? For "production value", or because moving image keeps me watching this fluff? Ok, fine, I will watch it for 5 more seconds to realize that I've been cheated, that this particular move has not been justified, then I will switch my TV off.

When I am interested in the subject, when the pacing is good and the story is gripping, I really don't care about frame size or resolution or fancy camera moves or blown out highlights.
 
However, no matter how good your script or acting may be, if I hear dialogue that was captured via the onboard mic, or the actors are standing in front of a sliding glass door with the outside all blown out, I'm turning it off.
 
Production value is not a trap to fall into, if one remembers that production value stems from simply making the most effective use possible of the resources available.

Sure, if 'production value' means expensive, expensive, expensive, that's a problem. But only amateurs and studio executives think that way.
 
Like others have said, content will always be king.

But in this day and age, I personally would not. You draw the line somewhere - would you shoot it on a Sony Handicam? I don't mean to suggest the DVX is crap, it has always been a great camera. But for an affordable price point, you could give your film a MUCH more filmic look. The 2/3rd Scarlet launches supposedly by June. The DSLR route is available today and certainly in the realm of affordability. It's not that you NEED these... it's that the insane increase in image quality for the price point almost makes it a no brainer. If you are going to invest that much time and effort into shooting, I would want to shoot on a format with more of a film look, more artistic flexibility with lens choice and DOF and latitude, better image quality, and something that will be on par with a world that has gone all-HD.

Everyone will have a different opinion. You won't find a right or wrong answer. Soak in all the opinions, process them for yourself, and then ask yourself: What Do *I* think? Then do it.

But whatever you do, don't NOT make a film because you are waiting for the perfect camera or gear setup. It will never come. Weigh the pros/cons, prices, possibilities, etc. and shoot within the next 2 years.
 
subtleinspiration said:
However, no matter how good your script or acting may be, if I hear dialogue that was captured via the onboard mic, or the actors are standing in front of a sliding glass door with the outside all blown out, I'm turning it off.
Click to expand...

if the film truly was compelling AND audio was captured using the onboard mic, I'd be so intrigued/confused I couldn't stop watching.
 
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