Chicago HD-100 Film transfer Screening. Feb 2, 2006

stephenlnoe

stephenlnoe

Well-known member
Hi guys and gals,

Interested in seeing how well the HD-100 footage transfers to 35mm? Interested how HDV1 looks on a BIG screen using the highest technology D-ILA projector? Then come to Chicago for a screening event sponsored by JVC on Feb 2, 2006 at Columbia College. You must register with JVC Professional on the following linked page.

Click here for Registration page

All the best and I hope to meet some of you there.
 
I'd like too but I'm far away from you! But thanks anyway and Congrats for your work here. So much appreciated. You are one of the best! :thumbsup:

BTW my main HD100@35mm concern is the lower 1280x720 HD resolution. All until today, they are saying 1080 to film-out (period) or isn't it?
 
Hi guys and gals,

Now is the time for all good men (and women) to register for the JVC event held here in Chicago (and LA). Come meet HD-100 D.P.'s as well as potential HD-100 D.P.'s at a JVC sponsored event (Feb 2, 2006). What could be finer than to see an HD-100 film transfer to 35mm? How about seeing HD-100 material on a state of the art D-ILA Cinema projector and on HDTV's.

Register for the event on the provided link and I hope to see some of you there.

all the best and Keep Shooting!
 
I'd love to go there... but travelling to US right now is not possible. I hope you'll post about the event.
 
Hi,

The Chicago show has come and gone and there is alot of information to discuss about the film transfer. The stuff I put together was a mixed bag of shots and the intention was to not color correct and to put the footage up on screen as it came off the camera. Tim D., your stuff (with the masked men) was in and Nate W. your downtown shots were in as well.


First up was Andrew Young's footage. I saw the footage from the front of the theater and from the back of the theater. There was a really big difference between viewing from the front and from the back. In the front of the theater it looked muted in color as some pointed out. I felt the same way when I sat in the front of the theater. When I saw the reel from the back of the theater it was very impressive. Maybe it was the screen? I don't know but from the back of the theater the footages colors looked correct and the resolution fabulous. Very, very nice Andrew! His story of perils in getting the footage was entertaining and I enjoyed it.

Next up was the reel I put together. The reel was intended as an example of what to do and not to do as well as to directly film transfer some scene files and see how they look. There is a ProHD user group formed in Chicago and the reel will be shown there as well and discussed in detail.

@ T. Dashwood and N. Weaver- can you post your camera settings for what you've included in the reel? I'm gathering settings so we'll have the reference to the camera/film.

In all things shown the blacks were superb and the shadows had nice detail. Andrew made the comment many times about the detail settings and how it may have artificially enhanced some highlights but from my point of view they were not that pronounced and it's nice to know we can turn detail enhancement way down or off.

There were 5 known scene files represented in my reel. Of them all the "Warm" scene file was almost identicle on screen to what I saw on my timeline and what I saw to HDTV. As the editor of the piece I saw all of the footage over and over on SD monitor, HDTV and now on film for two screenings. Across the board the warm scene file transferred to all display types the same and I think would be a good basis.

Workflow went like this: I brought the m2t 24p files into Liquid 6.1 Broadcast (same as Avid Liquid 7) and layed them on a 720p24 timeline. The files had no render and were raw 24p on my timeline. I added cuts, transitions and a few titles. The render codec used was 2VUY (8bit) uncompressed. The only portions that had any rendering were fade to black and titles and one shot that was 30p linear time warped to 24p. The rest of the footage was raw all the way through. I then took the timeline and exported it as a TARGA sequence to a PC formatted USB2 drive and delivered it to "I cubed" here in Chicago. They took it from there and the Lab work was done by Cinefilm in Atlanta, GA. We requested them to leave it un-color corrected. Andrew, I will gather the information on the film stock (Kodak provided), the transfer method (Arri laser or CRT) and scaling method to 1080p and forward the info.

Some things I think are relevant to the film transfer and to the HD-100:

1. Focus is PARAMOUNT. Check and recheck focus. Use the full 88mm to zoom in and get critical focus for shots. We displayed some shots in the film that were in focus on SD but in HD were out. Be aware.

2. Observe pan speed laws in order to get smooth motion in 24p. We displayed proper panning and tilting and improper. Slow pans and whip pans are OK but medium speed pans that are beyond the pan speed 24p can take will judder. Be aware.

The bottom line is this: The HD-100's image is worthy of 35mm film.

S.Noe


PS To JVC, All the credit to you that put on the event. They were open to discussion about the camera and had no false ideas about the camera/format. Edgar Shane (JVC) described how the format and codec works and then JVC let the images speak through Andrew Young and I (in Chicago). They had no problem with Andrew or I pointing out errors or things to look for when shooting. Keep up the good work!

PS PS To all the guys from the boards I got to meet. It was great putting faces to names and I am happy to meet you. I can't wait to see some content!
 
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