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Old May 21st, 2007, 08:16 PM   #1
Join Date: Feb 2007
Location: Seattle
Posts: 3
35mm film-out via JVC HDV

Hey folks,

Are there any 35mm examples of JVC HDV footage out there that I might be able to go check out? I've been seeing some pretty impressive tape to film transfers lately, but not from JVC (mostly 16mm/HD/35) Does anyone here have experience printing out to film from the JVC camera system?

What might be the pros and or cons of using such a highly compressed format for acquisition, then dubbing to HD-D5 (or other high-end HD format) for printing on an Arri Laser?

I've been working primarily with celluloid over the past couple of years and am finally warming up to the idea of making the leap into DV and am now weighing options.

The JVC camera system is attractive because it handles like a real cine camera (shoulder mount) and has removable lenses.

Question is, how does the footage hold up in post?

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Old May 22nd, 2007, 09:35 AM   #2
Join Date: Aug 2005
Location: Toronto, ON, Canada
Posts: 3,637

I think the most accessable film-out was "An Inconvenient Truth."
It is finished its theatrical run in the U.S. and Canada, but is playing in theatres now around the rest of the world.

There have been some other filmouts printed from HD100 originated material as well. Andrew Young at Duart in NY has printed some tests, as well as Stephen Noe in Chicago, and James Tocher at Digital Film Group in Vancouver.
Tim Dashwood
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Old May 22nd, 2007, 10:09 PM   #3
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Join Date: Aug 2005
Location: New York
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HD100 flmout

Hi Steve,

As Tim mentioned, we have filmed out several tests from the HD100 to our Arri Laser Recorder. We have about a half dozen feature films in the works, but none at the filmout stage just yet. An Inconvenient Truth is the only one I know of that has been in theaters (just the traveling bits). The camera does a very impressive job for it's price point. If you're ever in New York, we screen demos every Thursday.
Andy Young
Director/DP www.ArchipelagoFilms.com
VP, Special Projects www.DuArt.com
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Old June 1st, 2007, 09:07 AM   #4
Join Date: Feb 2007
Location: Seattle
Posts: 3
...thanks for the info. I did see the Al Gore show in the cinema. It certainly had a video-look and clearly the filmmakers were not trying to mask that. I found the experience to be a lot like watching TV on the big screen. It works for what it is.

The tape-to-film picture to see right now is "Iraq in Fragments" from James Longley. www.iraqinfragments.com

I have not yet seen the 35mm theatrical print, but the DVD looks amazing. (it is a DVX picture)

Next time I'm in NYC, I will stop by Duart. Thanks again,

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Old June 10th, 2007, 02:04 AM   #5
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Join Date: Mar 2004
Posts: 94
juts been in their site and see their still from DVX

thanks for the link
and i beleive their still are frame grab from footage so i think its DV only
still very good and i think a clean DV /HDV without edge enhancement ( sharpness at high) will make a good film transfer along with correct exposures and focus.

i was watching 4K digital screening in Sigapore and notice that the CG is very nice and smooth but film is not, and i think it's still like 2K.

IMHO, i think a JVC or canon with above mentioned factor and a good colorist to grade , it can make something just barely softer than Panasonic varicam on film out.

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Old July 22nd, 2007, 05:44 PM   #6
Join Date: Feb 2007
Location: Seattle
Posts: 3
...I'm still very interested in this camera system. Have had the opportunity to spend some time with it at the rental house, but still have not shot with one. I see that there are a lot of great examples of wedding footage shot with JVC and would like to see more narrative cinema and documentary uses of the JVC system. Especially on 35mm...

If anyone knows of any particularly interesting uses of the JVC system in narrative and documentary work, please point us to them..

Thanks so much for all the suggestions and comments,

Steve Hyde is offline   Reply With Quote
Old August 1st, 2007, 12:31 AM   #7
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Second time posting... hope this works!

If this helps, IRAQ IN FRAGMENTS was shot with Panasonic DVX-100 and DVX-100A cameras, using 24p Advanced Pulldown mode, letter-boxed. All sound was recorded on the camera.

300 hours of material were recorded in Iraq between February 2003 and April 2005 for the production. 1600 pages of typed, time-coded, translated transcripts were used in editing.

The film was edited by Billy McMillin, James Longley and Fiona Otway using Final Cut Pro software running on Apple Macintosh computers.

The film was blown up to High Definition size and color corrected at Modern Digital in Seattle.

Dolby Digital sound mixing took place at Bad Animals studios in Seattle.

File-to-Film recording was done at Alpha Cine Labs in Seattle.

Hope this helps!


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