DVX100b for theatrical release

R

rarun4u

Member
Hello

I came to know that "Iraq In Fragments" was shot on DVX100a and blown to 35mm film for theatrical release. Do you guys know whether it was shot on plain DVX100a or any kind of compression software like andromeda was used. The footage looks excellent but i doubt if some kind of 35mm adapters or conversion technologies were used( other than just color correction)

One more question I have guys. The HVX200 is HD and DVX100b is SD. when footage from these two is blown on 35mm film, would it be there a large difference between these two. Did anyone had a chance to look at this?

I am planning for a feature film for theatrical release(regional film),but my budget is low. Just getting confused with which camera should i go. If I get a DVX100B and shoot, Will it be acceptable for theatrical release?
 
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Well, obviously it'll be acceptable; many films have been shot on the DVX100 and gone on to theatrical release, and even Oscar nomination (such as Iraq in Fragments and Murderball).

An HVX can do a much sharper job, but the DVX has already proven itself as capable of delivering results that stand up in movie theaters.
 
rarun4u - I am planning for a feature film for theatrical release
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He has discovered one more curiosity which was implicit until now. This thread must be made sticky. I also wonder what specific file-settings really effect the final in-camera footage to be eligible in quality to get blown-out to film.

I'm also looking for a Master-Copy to be available for TV-broadcasting and/or Film-Out. My file-settings should be helpful to get highest quality footage which can be equally eligible for TV/FilmOut.

I know there is a hell lot of settings to be adjusted and re-adjusted before the actual production begins. Even the sample film-blow-out is tested before reaching any specific scene-file-settings decision for film-transfer.

My 2-Cents would be:
I want a pure optical miracle out of DVX100B. By pure I mean the least possible digital enhancements and noise to the footage. At the same time I want to achieve 100% in-camera look i.e. almost no post-production enhancements either in color-correction or in cleaning-noise before or after 16:9 upraise.

Considering the above goal(s) I'm looking for the scene-file constants and variables. By constant I mean those settings which will remain unchanged in my whole life (as a filmmaker :D ) and by variable I mean those settings which I can confidently (without introducing any digital noise or enhancement what-so-ever) tweak to achieve a desired in-camera look.

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My Desired CONSTANTS , Pure VARIABLES and Restricted VARIABLES (Do correct me if I'm wrong here):

DETAIL = -7
V. DETAIL = -7
DETAIL CORING = -7
CHROMA LEVEL = -7 .. 0 .. +7
CHROMA PHASE = -7 .. 0 .. +7
COLOR TEMP. = -7 .. 0 .. +7
MASTER PED. = -7
A. IRIS = -2/-3 (CONFUSED)
GAMMA = CineLike
KNEE = ? (CONFUSED)
MATRIX = CineLike/CineLike-V/CineLike-D
SKIN DTL. = OFF
 V. DTL. FREQUENCY = THIN
MODE = PROGRESSIVE (24P/25P)

CAMERA SETUP = 0% (PADESTAL SETTING FOUND IN CAMERA SETUP MENU)
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I also need the answers to the following questions:
Q1. Which one is better Manual WB or Preset WB ?
Q2. Does Detail Coring = -7 mean no digital noise removal ?
Q3. Does tweaking with Chroma Phase/Level and Color Temp. introduce any kind of digital noise ?
Q4. Can I apply Q3. to manual WB ?
Q5. DVX manual suggests to change settings after WB. Why can't I simply finalize a scene-file and then WB after selecting it ? Won't latter-WB creates the similar in-camera look as it was in the first place ?
Q6. Also the Pedestal Setup found in Camera Setup Menu. What's its relationship with Master Ped. in file-settings ?
Q7. When manual-Iris is activated, Auto-Iris settings gets ineffective ?
Q8. I'm confused with KNEE and Coring ?

One More Confusion:
Q. In-Camera Squeeze (16:9) is applied to uncompressed DV footage. Is this the perfect possibility for DVX footage to upraise to 16:9 ?
 
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