How well does HVX project?

B

brownrf

New member
I've seen footage on DVD from the HVX and it looks awesome. My question is this:

I am making a feature film that I hope will be projected digitally at festivals. Has anyone seen how the image looks when it is projected on the big screen? I would appreciate any comments.

Also curious about how well it transfers to 35 in the event of a theatrical release.

Thanks,

Ron
www.aperfectfitmovie.com
 
Keep in mind that films shot on DVX have been running in festivals like South By Southwest for the past couple years.

HVX is about to become standard. For film festivals that is.
 
I've had the pleasure of seeing the movie Iraq in Fragments on the big screen here in LA and it looks beautiful... way better... probably 10 to 15 percent better than a 16mil on screen... and that was shot with the DVX 720x480 Standard Def with a 1:85 matte for a fake wide screen with post production up-res... but post up-res helps but it's not a total transformation... DUDE that guy won every major festival award there is... AND an OSCAR NOM

Just imagine shooting 1080p with true 16x9 wide screen... i can say... with confidence... that you will be safe at your premiere projecting images from the HXV... and if you haven't bought one yet... if you get em straight from panni they'll throw in a free HVX book from barry... thats a 90buck value bro!! HVX WITH PRIDE!!
 
You can see for yourself if you go to the theaters to see the previews in front of the Nancy Drew movie. There's a film called "Sarah Alden" (I think) that was shot entirely on the HVX that's getting a theatrical release this fall, and previews for it are running in front of the Nancy Drew film.
 
Barry_Green said:
There's a film called "Sarah Alden" (I think) that was shot entirely on the HVX that's getting a theatrical release this fall, and previews for it are running in front of the Nancy Drew film.
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Have you seen the Sarah Alden trailer? If so, how did it look?
 
Haven't seen it, just read about it on this forum. But I've seen sections of a different film that was done by the same post-production house and it looked absolutely like a "real movie".
 
FYI, no preview for "Sarah Alden" running before the Nancy Drew film.
Fortunately I took my 13 yr old daughter to the flick so the trip was not wasted. Maybe i can find the preview online.
 
Yes, meant "Sarah Landon...", definitely not running with Nancy Drew, at least not
at Carmike Cinemas. Was quite a disappoinment. Saw it on the website but still need to see on the big screen to make a judgment.
 
Yes, Sarah Landon seems to be the best chance for people interested in seeing how the HVX200 holds up on the big screen.
The interesting thing is that the DP chose to shoot 720p rather than 1080p because in his own words he "noticed some artifacting in the 1080 that didn't exist in 720".
He thinks the in camera uprez was the problem and is happier with the post uprez they did when transferring to film. He also mentioned the extra data from 1080p being a problem.
Interesting choice.
 
Aren't we allowed to post links to other boards, like the Redrock forum where the DP post his experiences with the HVX200?
 
he probabaly didint want to deal with dumping cards every 4-8 minutes when shooting DVCpro100.
 
arrestthisman said:
1080 most certianly looks better than 720p...
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Y'know, I sure would like someone, some day, anywhere, ever, to point out these supposed "uprezzing artifacts". Seeing as the HVX shoots 1080 and DOWNREZZES, if there's artifacts to be had they'll be in the 720 mode.

We've conclusively proven over and over that 1080 looks better than 720. When someone says there are "uprezzing artifacts" I really have no idea what they're talking about. Sure would be nice to see some evidence of this, if it exists.
 
TimurCivan said:
he probabaly didint want to deal with dumping cards every 4-8 minutes when shooting DVCpro100.
Click to expand...
That is certainly a valid reason to choose 720.

The post house, Plaster City, also prefers that the shooters shoot in 720 because they have excellent integration with 24pN mode, but not all their tools will successfully remove pulldown (FCP will from 24pA but not 24P, After Effects will from 24P but I don't know if it will from 24pA, etc). So they've found it to be a simpler and more foolproof way of getting a guaranteed 24p-only data stream.

But by no means does it look "better".
 
the Dp probably had a hard time explaining that to the Producers ETC, and just told a little white lie.....
 
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