Music Video Link: HD100/M2/Nikons

[Taylor Wigton]

http://www.447productions.com/master_50mm.mov

10 seconds, 1280x720, 23.98
codec: AIC

50mm Nikon. No CC in post. Cir Pol, .6 ND Grad on camera.

[Kristin Stewart]

Thanks Taylor, the problem is that Windows users aren't able to read the AIC codec within Quicktime (it's a Mac Os specific one)... Wouldn't be possible to post the footage as m2t, or something more standard please ?

Thanks,

Kristin

[Taylor Wigton]

hey kristen- a full res h264 looked not so good. i think i need to fiddle and find the right bit rate perhaps. for now, here you go. reasonable sized h264 qt, 19mb, rt 1min

http://447productions.com/50mm_f4.mov

same setup, general idea of showing this clip is that it's not all about SHALLOW DOF and you can shoot for the story rather then for the neat device you have. it's great to use selective focus when needed and not to draw attention to itself.... i think..... '-0

[Kristin Stewart]

Thanks Taylor ! This clip is really great, you're totally right about dof ! I think it's a common mistake to shoot everything wide open...

Kristin

[Taylor Wigton]

no cc, no adapters, no on camera filters, no cinegamma. you can definately shoot some nice stuff with or without adapters so what comes in the box is fine. this demo could USE some grading, but thats another day i guess. and h264 is absolutely amazing! download MpegStreamclip from the Squared5 website too. works great, IMOP.

http://447productions.com/720p24HDV_h264.mov

[Michael Maier]

Originally Posted by Taylor Wigton

no cc, no adapters, no on camera filters, no cinegamma. you can definately shoot some nice stuff with or without adapters so what comes in the box is fine. this demo could USE some grading, but thats another day i guess. and h264 is absolutely amazing! download MpegStreamclip from the Squared5 website too. works great, IMOP.

http://447productions.com/720p24HDV_h264.mov

Nice. Was it shoot with the 16x? Are any of those shots done with the lens fully wide? What was the F-stop ball park? Looks great!

[Taylor Wigton]

http://447productions.com/ColorCorrection720p24HDV.mov (h264, 630x360)

I have no idea how this can be possible. Thought I would try to take something completely clipped and see if I could pull any information out of it, just for fun. 3 way color corrector in FCP is all that was used.

HD100, 24p HDV, stock lens, white clip 108%, Knee 85%. Original 20min clip was shot normal and intended to be a timelapse to be done in post. In this case, just took a little peice and also sped up clip 250% so you could see clouds moving faster....... same exact clip on both sides of screen. Not at all implying shoot overexposed, but just wanted to show this split screen because it's kinda odd, if that is the right word.

Michael: The last group of shots you asked about were shot with the stock fujinon (i suppose it's 16x). Lens was all over the place. Iris wide open, closed down to 11, long end of barrel, short end of barrel..... etc.... wanted to push the lens and camera mostly in that set of shots.
-------------
FWIW: The Showreel Peice has been published and is 8 pages. I am trying to get Steve Parker to have it downloadable and so I will work on that and get you a link asap.

[Craig Parkes]

Originally Posted by Taylor Wigton

http://447productions.com/ColorCorrection720p24HDV.mov (h264, 630x360)

I have no idea how this can be possible. Thought I would try to take something completely clipped and see if I could pull any information out of it, just for fun. 3 way color corrector in FCP is all that was used.

HD100, 24p HDV, stock lens, white clip 108%, Knee 85%. Original 20min clip was shot normal and intended to be a timelapse to be done in post. In this case, just took a little peice and also sped up clip 250% so you could see clouds moving faster....... same exact clip on both sides of screen. Not at all implying shoot overexposed, but just wanted to show this split screen because it's kinda odd, if that is the right word.

Hey Taylor, thanks very much for that post. I am planning an HDV project and have been worried about latitude. In the past I have worked with DV that was extensively graded, so have a big appreciation of what a good grade can do, but was worried that the increased amount of pixels and higher encoding on HDV would seriously affect latitude in post. It's good to see an example of roughly at what point information gets completely lost (looking at the bottom of the screen where the sun is brightest you can see the clearly defined edge where the information loss begins.)

A quick question, the power lines on the very right of screen have pretty extreme purple and green edging. Was this on the original footage or is this some sort of compression artifact from the compression to the web?

[Phil Bloom]

Great video Taylor, very impressive. How do you shoot handheld stuff with the hd100 with the image flipped? I have the new hd201 and am in love with the built in image flip! I can finally shoot 35mm stuff using the viewfinder.

[Taylor Wigton]

Hello- The latest edition of Showreel Magazine includes the 8 page article (Part 1). The magazine should be mailboxes this week for US subscribers. Part 2 will focus on the post production circus we went through to deliver onto HDCAM at 1080PsF24 from our original captured 720p24HDV content.

The first link is a freeview and if you go there, you will find more freeview articles that you may find interesting. The magazines are dense and not sure the subscription price. Very worth it. www.Showreel.org

The 2nd link is a PDF of the printed article. If you DO download the PDF, please email the link to a friend rather then emailing the downloaded PDF so downloaded 'stats' can be accurately generated. (if you were wondering: the pdf is on my ftp server because my server provides very elaborate stats. I want to show the publisher why he should switch server providers....fwiw)

http://www.showreel.org/memberarea/article.php?242 (text only)

http://447productions.com/M2.pdf (PDF of actual article)