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Old August 8th, 2007, 12:33 AM   #91
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Here is a thread with some links to footage I shot within the last year on my HD100. It's a great camera...we've had a lot of fun getting to know eachother.

http://www.dvinfo.net/conf/showthread.php?t=100840
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Old August 21st, 2007, 02:41 PM   #92
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Preliminary version of JVC GY HD100-MINI35 DEMO

Here's a link to a preliminary version of a clip shot to demo the JVC GY HD100 and P+S Technik MINI35 at recent local product demonstrations at FTI Fremantle and Curtin University.

http://www.youtube.com/watch?v=aabJj2EED38

The clip was retrieved from a DVD-Video disk and recoded to mp4 for upload so should not be held as representative of the final version which includes the guitar player and close-ups of fingerwork on the fretboard.

I shot shadow of this project on a Sony Z! and home-made AGUS35 and posted that footage at YouTube under the title of "AGUS35 films MINI35".
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Old August 22nd, 2007, 07:57 AM   #93
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Very nice, Bob
Ron
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Old October 2nd, 2007, 05:20 PM   #94
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"Conviction" - CineVera Pictures' latest short film

Check out our latest project: "Conviction." Shot in 12 hours at an abandoned warehouse in downtown Grand Rapids, Michigan. Shot on the JVC HD100 with the Brevis 35mm.

http://www.cineverapictures.com/clips/conviction.html
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Old October 5th, 2007, 11:14 AM   #95
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Feature Film "Scourge" Shot in HD with JVC ProHD GY-HD250

Not my project, but just saw this article on DV.com:
http://www.dv.com/news/news_item.php...leId=196603457

Feature Film "Scourge" Shot in HD with JVC ProHD GY-HD250

PHD Productions records HD-SDI output to Wafian HR-1 HD video recorder


Wayne, N.J. (Sept. 27, 2007) -- Director, Jonas Quastel and DP, Corey Robson of PHD Productions chose JVC's lightweight GY-HD250 to shoot horror film, Scourge because of the cameras ergonomics, 60p capability and HD-SDI output compatibility with Wafian’s direct-to-disk HD video recorder.

Using technology from the present and past, which initially set the stage to shoot horror film Scourge, PHD Productions achieved a 35mm depth of field look with the combination of the GY-HD250, manual focus Nikon lenses and Redrock Micro M2 lens adapter.

Robson, who has filmed extensively with his GY-HD100, is very familiar with JVC’s camera and knew that the GY-HD250 was the right choice to shoot Scourge because most of the film was shot hand-held.

Questel also favored the GY-HD250 because of its ability to flip the image on the fly and output 4:2:2 HD-SDI into Wafian’s HR-1. “We used the Wafian to preserve the best master image quality -- possible as well as bypass HD decks and tapes,” commented Questel. The camera performed flawlessly. I always had a clear signal to the monitor. There was no down time when it came to JVC’s camera.”

According to Robson, the camera’s compatibility with the HR-1’s 24fps reverse pull down convinced him that this workflow would be the most cost-effective and efficient way to maintain the GY-HD250’s image quality from set to post. “The on-set workflow was simple and worked incredibly well. We connected our sound into the camera’s XLRs where the audio became embedded into the HD-SDI stream, along with the camera-generated timecode and image. The HD-SDI cable from the camera fed the Wafian back at the director’s monitor. This ensured that we had audio on both our HDV backups and on the HR-1, which avoided double-system post expenses,” added Robson.

Quastel says the GY-HD250 captured beautiful highlight detail during the mostly white hockey rink sequences in the film. “Humidity and cold were never an issue for the camera. We shot a majority of the film at night – complete with rain showers and very tight schedules, making things less than ideal for treating a camera gently. The camera was thrown around a lot,” said Quastel.

Robson praises the camera’s versatility and custom menu functions. “I think a very often over-looked consideration when choosing a camera is ergonomics. And this was a big deal to me working on Scourge. With regard to image setup, the GY-HD250 has completely adjustable matrix, shading, and gamma options. In-camera “looks” are easily dialed in. The adjustable focus-assist feature came in handy especially for insert work and the camera’s true 1280 x 720 imagers were another reason to go with the HD250. No scaling and cross-sampling pixels with the JVC cameras.”

Robson also commented on the camera’s battery life, “The built-in Anton-Bauer gold mount was another great feature of JVC’s camera. With a power tap and a Dionic 90, we were often running an on-camera Panel-Lite, Bartec unit, and additional 7” monitor all at once.”
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Old October 7th, 2007, 08:21 PM   #96
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We just delivered a feature documentary to PBS shot on our HD250's with Fujinon 13X lens. John Paul II: A Saint For Our Times was shot in Italy, Poland and the US. This will be a 60 minute national pledge special and will be picked up by many markets across the US. It focuses on the themes of JPII's life as a hero of non-violence and human rights.

Shot in 720p30 on tape and HD-DR100's, edited entirely in native HDV on FCPro 6. Downconverted to SD via 10-bit uncompressed and mastered to Digital Beta. Should start airing in Dec 07 on local PBS stations.

We were very happy with the performance of the ProHD gear overall. Problems persist with dead pixels popping up, and still many issues with the BR-HD50 decks.

Dave Beaty
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Old October 10th, 2007, 02:01 PM   #97
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Quote:
Originally Posted by Brian Posslenzny View Post
Check out our latest project: "Conviction." Shot in 12 hours at an abandoned warehouse in downtown Grand Rapids, Michigan. Shot on the JVC HD100 with the Brevis 35mm.

http://www.cineverapictures.com/clips/conviction.html
Looks great!

What settings did you use?

PS - our company is located in Ypsi....

john
evilgeniusentertainment.com
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Old October 10th, 2007, 04:35 PM   #98
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New showreel!

I thought i'd put together an updated showreel together for use of my HD110e

Sorry about the youtube-ness but i can't host anywhere good enough at the moment.

http://www.youtube.com/watch?v=l2nD-KwhjW4

any comments would be much appreciated!!
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Old October 11th, 2007, 05:35 AM   #99
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Quote:
Originally Posted by Neil Rostance View Post
I thought i'd put together an updated showreel together for use of my HD110e

Sorry about the youtube-ness but i can't host anywhere good enough at the moment.

http://www.youtube.com/watch?v=l2nD-KwhjW4

any comments would be much appreciated!!
Looks fantastic Neil. Some great footage and editing techniques (particularly enjoyed the footballer 'cutout') - shows a diverse range of projects you've been involved in too...plus I recognise many of the locations!

All HD1** stock lens?
Good work.
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Old October 17th, 2007, 05:38 PM   #100
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Xan, A Despedida (2007)

Type: Short Film
Director / DP: José L. Martínez Díaz
Production Company: Contacontos P.C. S.L.
Link: www.xanadespedida.com www.xanadespedida.blogspot.com www.myspace.com/xanadespedida

Camera: HD100E / Stock Fujinon Lens

Cheers,

Jose
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Old October 22nd, 2007, 08:51 AM   #101
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The independent project "The Crimson Cage" referred to in my post of awhile back has now become "Death Bet". A new trailer can be found at this web address.

It was shot on the JVC GY-HD100 with the standard Fujinon lens.

http://www.youtube.com/watch?v=OMflCs57tMA
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Old October 25th, 2007, 06:58 AM   #102
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Our doc aired live this weekend 10/19 on WLIW in NYC, the PBS affiliate, as a pledge drive program.

Here is a link to a wmv of the open of the program. Low bandwidth 15fps.
http://www.dreamtimeentertainment.com/media/jpii.html

Quote:
Originally Posted by Dave Beaty View Post
We just delivered a feature documentary to PBS shot on our HD250's with Fujinon 13X lens. John Paul II: A Saint For Our Times was shot in Italy, Poland and the US. This will be a 60 minute national pledge special and will be picked up by many markets across the US. It focuses on the themes of JPII's life as a hero of non-violence and human rights.

Shot in 720p30 on tape and HD-DR100's, edited entirely in native HDV on FCPro 6. Downconverted to SD via 10-bit uncompressed and mastered to Digital Beta. Should start airing in Dec 07 on local PBS stations.

We were very happy with the performance of the ProHD gear overall. Problems persist with dead pixels popping up, and still many issues with the BR-HD50 decks.

Dave Beaty
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Old October 25th, 2007, 08:00 AM   #103
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Quote:
Originally Posted by Dave Beaty View Post
Our doc aired live this weekend 10/19 on WLIW in NYC, the PBS affiliate, as a pledge drive program.

Here is a link to a wmv of the open of the program. Low bandwidth 15fps.
http://www.dreamtimeentertainment.com/media/jpii.html
Looks fantastic Dave - despite one or two issues with this camera/support it can produce lovely footage can't it?

Was the titling done on FCP also?
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Old October 31st, 2007, 01:41 AM   #104
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Local bank spot

HD100 with my own scene file setup, a couple of 1200PARS, a 575, and a dolly setup. wmv does not do it justice....

http://practicali.com/mov/IntegrityV4-2.wmv
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Old November 15th, 2007, 05:50 PM   #105
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Aussie Feature Release

http://www.uemedia.net/CPC/cinematog...le_16628.shtml

Purgatory In HD

By Neal Romanek

Nov 14, 2007, 00:08


Director Shane Abbess shot Gabriel, a gothic action drama, entirely with JVC's GY HD100 Series ProHD cameras. The independent film has been transferred to 35mm for cinematic release worldwide on November 15th.

Gabriel has been described as the best independent feature film to come out of Australia since Mad Max. The gothic action drama tells a story of the battle between good and evil set in Purgatory. The film stars Andy Whitfield (movie debut), Dwaine Stevenson (Small Claims, The Nothing Man) and Samantha Noble (See No Evil, Court of Lonely Royals).

Abbess and his writing partner, Matt Hylton Todd produced over 20 short films, music videos and TVCs together. With Abbess' extensive experience, he already knew many of the tricks needed to employ in order to shoot a great idea in a unique way. Abbess enlisted the producing skills of Anna Cridland and Kristy Vernon who pulled together the team of talented people to make the movie.

"I went out and tested every 3CCD camera on the market to get a real idea of what we could expect from a progressive movie look. When I say we tested every camera on the market, I mean every one," Abbess explained. "None could do what we wanted until I went to the Digital Media Festival and saw the JVC's GY HD100 Series which was, quite literally, a revelation. Unlike all the other camcorders you could pull focus, set focal points, change lenses, it was excellent in low light and shot in true progressive. At that point, we also saw the tests of Endurance Island (Reality Check) and were hooked. It was a no-brainer. JVC's camera was, without a doubt, the best HD camera on the market in its range."

Abbess put the camera through the most intense testing. "I knew this camera was going to change the film industry due to its progressive shooting, calibrated lens and amazing size-to-quality ratio. I also did not have the budget to buy a PNS adaptor and had to make do with a wide angled lens. The first time we did a 35mm blow up there were a lot of people wondering if JVC's camera was too good to be true until they saw the results. It was stunning. Everyone was amazed. We knew we could take Gabriel into cinemas," said Abbess.

With the input of the producers, Abbess and DOP, Peter Holland set about making sure that all 26 locations were able to be low-lit correctly. Holland and his crew took the next five weeks to create controlled lighting situations allowing the 'movie look to work'.

Abbess continued, "That first shot was magical. It just worked. The camera was brilliant. It looked great. It looked cinematic. We did lots of long lens, dirty frame, hand-held shots. With the GY HD100 Series being so compact, we could get it into places that other cameras couldn't go."

According to Holland, "We made subjective rigs for the camera including one where we bolted it onto a knife. The size and weight allowed us to do things we simply could not have done with other cameras. This wasn't traditional shooting. There were lots of hand-held and steadicam shots and the operators were delighted with JVC's camera. We were able to avoid the jerky DV look and motion because the camera can be shoulder mounted making it as smooth in every situation. It's a really flexible camera. After three weeks, we decided to buy another camera. JVC was incredibly helpful in making this happen. Their service and support throughout the entire shoot was brilliant."

With the shooting completed, editor Adrian Rostirolla used Final Cut Pro and completed the cut in six months. Abbess and Post Production Producer, Matt Graham, tackled the challenge of 800 FX shots, big sounding music score and a complex sound design.

At this point, Screen Corporation showed the movie to Sony PicturesT. "Soon I was flying to LA to sign the deal with Sony® and the rest is history," said Abbess. "I can honestly say that Gabriel has been the most challenging project of my career and if it wasn't for the help of people like Noel Oakes (from JVC Professional Australia/NZ) and the excellence of the GY HD100 Series the movie would not have been made."

JVC National Sales & Marketing Manager, Noel Oakes said, "JVC is delighted that our camera played such a pivotal role in the making of such a great movie. Gabriel is the first feature film shot entirely with the GY HD100 Series that has been signed for worldwide release, which speaks volumes for the quality of these cameras."

A gothic action drama starring Andy Whitfield (movie debut), Dwaine Stevenson (Small Claims, The Nothing Man) and Samantha Noble (See No Evil, Court of Lonely Royals) Gabriel tells a story of the battle between good and evil set in Purgatory.

JVC Professional Products Company, located in Wayne, New Jersey, is a leading manufacturer and distributor of a complete line of broadcast and professional equipment.
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