Assorted posts from 2002Q1 -- more
 

Hey Guys,

How are you !I hope you're all doing fine and shooting a lot.
I have a question for you with experience out there.I'm trying to put a better system than the one i have together.
So, let me explain the context so you can understand my question.

I want to get a camera which has manual zoom lens(good quality one), high resolution and professional features .An Xl1 is an awesome option to get all that but to do so you need to dress it up(manual lens, BW viewfinder,Xlr box and so on) and this dressing comes in a high price( for my budget).
So i had an idea to get my system together and need your opinion if it would work like i'm thinking it would or if it is a bad idea.I don't have a lot of experience in the field yet but i want to make sure i will spend my money in something i can get good quality work out of it.
That's the deal: I found a pal camera in Europe for a very good price( my girlfriend is from europe so i have easy contact ) but it's just a camera ,not a camcorder.You need to hook it w/ a recorder in order to use it as a camcorder.It's a Pal 3 CCd's professional studio camera w/ 14x manual professional zoom lens, BW viewfinder and it's capable of 800 lines of resolution.It's a ten years old camera but a i heard the camera head itself hasn't evolved that much in the last ten years,what evolved a lot was the recording deck and i heard it's a very good camera anyway.
My idea is , to buy this camera and hook it up to a sony gv-d300e(pal) or maybe the gv-d900 (so i could get a lcd screen) and so i could have a digital camcorder w/ performance on the level of a expensive camcorder (like the panasonic dvc200 and similars) for a vx2000 price.Using the sony's walkman dv vcr would give me the same portability of a normal camcorder since i could attach it to the camera's body.(i haven't figured out how yet but if i need to tape it to the camera i don't care) .I also could still editing it on my PC.
I'm not sure it would work so i need some opinion from professional D.P's and videographers and more experienced peolpe out there.It might have some technical limitations i'm not aware of.
Sorry if this question sounds weird and if it is a long post but i really need some professional feedback here and i thank all of you for your help and time.

Thank you very much.

bets regards,

Adam

DVD authoring
 

I have a vx2000 camera and am getting ready to buy an editng workstation. I want to know if it is possible to do DVD authoring and have good resolution on a standard tv or hdtv. Is anyone doing this? I have seen DVD authoring packages available, but was wondering how good of a final product I might expect. Thanks.

It really depends on the bitrate you choose to encote at.

MiniDV vs. DV vs. Film resolution
 

Every once in a while, I hear of features being shot "digitally." Not for television, but for real theatres that presumably project reels of 35-70mm frames.

Now, a 35mm slide has much higher resolution than 720x480, which I think is the frame size for MiniDV. And the best we can get out of DV can't be much better than HDTV resolution, which I think is 1080xSomething.

Now, for a film like Toy Story, or Shrek, or Final Fantasy, the problem disappears because you have total control over the resolution at which you render each frame. So rendering a frame big enough to look good on 70mm isn't technically hard, it's just time consuming and expensive to print.

But if people are shooting live-action movies "digitally," what technology are they using?

/j

See the thread titled "Why does handy cam not look like film?"

I don't think that very many entire features are being shot on DV and being released commercially. Maybe a few independent art films here and there. George Lucas shot Episode II digitally, but he did so with special hardware and not a DV camera.

Pioneer A03 problems
 

Recently I installed a Pioneer A03 DVD burner in my dual PIII system. It works fine, except that it refuses to burn CD-R discs.

Pioneer suggests "dumbing down" the IDE interface -- disabling DMA, using PIO mode, using a 40 pin IDE cable to connect. None of this has worked.

I've also tried installing the latest VIA 4in1 drivers (4.37), which not only didn't work, they trashed my video card installation.

Has anyone else had this problem? Any solutions out there? The drive is currently set as the master on the secondary IDE bus. It has version 1.65 firmware. Burning software is the included Prassi Primo with the latest software engine upgrade. I've also tried VOB Instant DVD, with similar results.


System: ABIT VP-6, PIII IGHzx2, Award BIOS version YT, HPT RAID 0 array, HPT BIOS 2.3, ATI Radeon 8500, Turtle Beach Santa Cruz, Windows 2000 SP2, Canopus DV Storm.

Problem solved. Required reinstallation of W2K.

It's on the way!!
 

Well after much debate and reading. I went with the XL-1s. It should arrive soon. I went with ZGC.

What is the 'E' on the box?
 

I have noticed that on the box of most camcorders and cameras there is an 'E' on the end of the model. For example DM-XL1 E, dose this 'E' mean Europe or PAL system or something completly different?

Is it the same on models from America and around the world?

Or is it to add extra printing chargers to bump up the price????

Your help would be appreciated in this,

Ed Smith

It's usually the designation for a European (PAL) model. Hope this helps,

Hey, best of luck! Keep us tuned in on how you like it.

Video Monitor Recommendations
 

I'm trying to take my video production skills to the 'next level' so to speak, and to do that, I'm thinking of investing in a decent mic for my GL1 and a video monitor for my FCP workstation. I'm interested in shooting in 16:9 mode on the GL1, so I need a monitor that'll squeeze it. Price is a big issue, since I am currently out of work (and video is a hobby, not a profession, at least so far). I've been looking at the Sony monitors, since I have a lot of other Sony gear, and it's all been rock solid, and all my computer monitors are Trinitrons. I'm looking for as big a monitor I can get with a reliable picture and a somewhat flat tube. I've been lusting after the PVM-2950Q, but that sucker's way expensive. (Though I've seen them for $600 on eBay.) A 14" or 20" would probably work just fine, though. Thanks for any advice you can give!

I think you'll want the Sony PVM-14N6, should be right at $500 from B&H (check price from ProMax as well). It's a 14" and it does 16x9 with its own letterboxing. I'd stick with a 14" as it's easier on your eyes and definitely more portable. Ya never know when you'll have to lug it around for a presentation or shoot or something.

XL1 dump to puter via Firewire. . how to get Audio2?
 

im only getting the audio.


what program will do thihs?

Command Post
 

I am looking for hardware to go between XL1, and other audio devices i.e. CD player etc, and the computer, often refered as a 'Command Post'. I'm running Adobe Premiere 6.

Anybody know about this? or where i could get one in the UK?

Ed Smith

Most video editing programs will allow you to capture either audio 1 or audio 2 from the XL-1 via firewire. In Cinestream, during capture all that is necessary is choosing Stereo 1 or Stereo 2 before capturing the video. Some programs, notably Vegas Video, will only allow capturing Stereo 1.

Check www.dv.com for a review of this product by my friend Adam Wilt (from over a year ago, so you may have to dig for it). His conclusions were that it's a little sluggish for video but perfect for breezing through Acrobat .PDF documents.

Duallie Macintosh
 

For all yu Macintosh afficionado's, check out the new duallie, 1 GHz Mac

http://www.apple.com/powermac/

I ordered one yesterday. I know it's not the quantum leap some wanted (the whining/bashing has already started), but it's a huge improvement over my G3/300, and the price is considerably better than the original price on the DP800.

I was going to upgrade regardless, but what I wanted to avoid was seeing a big price drop 2 weeks after I got the new system. The timing worked out.

I'd been waiting to move from EditDV to FCP -- this now gives me a machine that will make it fly.

Vic

Cameras with 16:9 and Frame Mode
 

Is there any camera other than the XL1/XL1S in the <$10k range that shoots true 16:9 and offers something comparable to the Frame Movie mode? If not, what camera would we have to step up to get those features? I'm looking to get a film-like, 16:9 picture but I'm not crazy about the fact that the XL1 creates 16:9 by actually cropping pixels vertically.

Shooting PAL vs. NTSC
 

I'm shooting a film (probably using the XL1S) and want to get as close to a film "look" as possible. Do you have any thoughts about shooting PAL? In his book "Digital Moviemaking," Scott Billups makes some good points about the benefits of 25 FPS, higher resolution and color space of PAL -- but his book is mainly about shooting in DV and then printing to film. We won't be printing to film -- we'll distribute on DVD and Beta SP (NTSC.) We're editing on a Media 100 XS. Given that, do you still see a benefit to shooting in PAL?

I think that if you can afford it, it's not a bad idea. But you'll need a PAL monitor, and a PAL DV deck unless you want to tie up the camera during video capture. If you're prepared for all the additional expense, then go for it... but personally I believe a "film look" is more about lighting for film, than an NTSC vs. PAL debate. You're halfway there with the XL1 already; it's a great choice for getting a "non-video" look.

Also, Scott's points are also revolving around some aspects of the ease of 35mm transfer from PAL video. Some tape-to-film houses prefer NTSC video, others prefer PAL. See the "DV to 35mm Guide" on the Watchdog Articles section.

Unfortunately, no. The least expensive native 16x9 cameras are the Sony DSR500, the JVC GY-DV700 and the Panasonic AJ-D600. Of these, the Panasonic will look closest to the Canon flavor of video. Starting price for these cameras is in the neighborhood of $10K, plus lenses.

Best bet for the XL1 is to hold out for an optical 72mm anamorphic adapter, or shoot in normal 4x3 and crop in post.

Sony DSR500WS
 

I'm shooting an independent film and have a choice of cameras I can use. Initially I had planned to use the XL1S, in Frame mode and 16:9 ratio.

I now have the option of shooting on the DSR500WS instead, which would give me true 16:9. I haven't done any shooting with the camera yet, so I'm wondering if anyone has experience with it and can tell me if it has anything comparable to the XL1's Frame mode, to give the image a film-like look. Also, any thoughts about cutting video from the two cameras together if I decide to use the XL1S as a 2nd camera?

Wow, wish I had the dilemna you have, Bill! :)

The DSR500 is a nice camera ... from what I hear you need to spend some time with it or find a DP who's familiar with video and can spend some time getting to know the image manipulation controls on it. You can crush or expand the shadows and the highlights in addition to gamma and color control.

Also from what I've heard, you can't get the "film-look" that you can with the XL1. What you get in exchange is better resolution and better tolerance to high contrast ratios.

One more thing ... with the 2/3" CCDs, you can get a shallower depth of field, for that cinematic look (subject in focus, background and/or foreground out of focus). This also contributes to the "film-look."

If the shutter speed is able to dial down to 1/30th of a second, you can get a comparable look. It won't look like video, it'll have the nice motion blur similar to film.

Hope this help! Have fun with your production!!

DV New York Show
 

Chris, I saw your banner saying you'll be speaking at the DV New York Show. What exacly will you be discussing?

Any chance they plan to videotape the workshops and lectures and edit them down into instructional videos/DVDs?

John, my assignment since I chose to accept it: a one-hour workshop/lecture/class/bitch session entitled "Choosing the DV camcorder that's right for you." I won't be wearing my Canon hat for this one... it'll be broad-based, rather basic in scope and include some buying tips, like how not to get ripped off. I'll try to post my notes after it happens. Don't know if it'll be taped -- I doubt it. It's all rather low-key.

portable DV recording for Minicameras
 

I'm shooting a kitesurf video and have to look for the best possibility to record footages from the actor. For this a very light (100g) minicamera will be mounted on different positions at the kite. The composite signal of the minicamera should then be connected to a DV recorder.

For this I was looking for different possibilities like portable DV recorder (Sony) or miniDV cameras with analog in (Sony PC120). The recorder will be carried by the actor water protected in a backpack .

Does anybody have some hints, advises or recommendations. I do not know whether the Sony PC120 gives sufficient quality.

Real time effects
 

I'm thinking about buying the Apple PowerBook. But when I was reading the small print on Final Cut Pro it says "a 667-mhz Powerbook G4 is required for mobile G4 real time effects in DV format" What do they mean by mobile G4 real time effects?
I was just wondering because I was probably going to get the 550MHz PowerBook. You people out there who use the Apple PowerBook have told me that my XL-1s should work good with this computer. I just want to make sure it will run final Cut Pro

PowerBooks and Macs all have built-in FireWire (1384) ports, which is how you would capture footage from, say, an XL1. You should have no compatibility concerns regarding your XL1 and Final Cut Pro / PowerBooks.

The "real-time effects" refers to tha ability of editing software to build effects such as certain transitions without requiring a break in workflow for "rendering" the effect (i.e. building the effect frame-by-frame). Final Cut Pro 3 recently introduced this feature for some effects when operating on certain minimum processor platforms. FCP will run just fine on a 550MHz G4 PowerBook but you will have to render all transitions.

Honestly, this is really more fluff than substance for most users. Feel free to get the 550 for use with FCP3.

Bestpages,

Sony PC120 is only a 1CCD camera and being that will not give the quality of a 3CCD camera, but is still pretty decent (530 lines). Many TV companies use them to shoot interior shots of cars with the presenter talking down the camera while driving. With that camera you are paying for some features which you would probably not use i.e. Bluetooth technology etc.

The little Canon cameras are pretty decent i.e. MV400/i versions and they come with Analog in/out and I think they give you about the same resolution as the Sony (but not some of the features). (They are about half price of the PC120!!!)

The only portable DV decks I know are the sony's costing about the same as the PC120.

Hope this helps,

Ed Smith

Stadycam for XL1
 

Hello,
I have buy the magiqcam II stabilisator for my XL1, it's a terrific stabilisator. It costs less than half price of the glidecam V8 and the performance are better !!!!

This stabilisator is delivered with:

1/ VEST
2/ ARMS
3/ SLED
4/ LCD SUPPORT

http://animagique.safeshopper.com

Bye

live feed transmission
 

is there anything out there that can be plugged into the cannon XL1S or sony vx1000 that will allow live feed transmission for a 3+ mile range.. if you know, please fill me in ...
Thnx for the assist

Respectfully,

Kyle R Baker
Freefly Navigator

My guess is that anything that has the power to operate over that range would need to be licensed. Probably expensive, since you're into the stuff that the mobile TV crews use.

Maybe someone else has jumped this hurdle....

Really looks interesting. Thx for the info !

Using a vx2000 with a trv900
 

I currently own a trv900 and a trv 310 digital 8mm (which is not used for capture much).
I am looking into purchasing a vx2000 to go with my 900.
What are the opinions on how the two would work together in post?
I have heard differing opinions as to how a scene from one camera would blend with a scene shot on the other camera. Some saying the 2000's image in low light is so much better than the 900's that it would be quite noticable. Others offer that if one were to use the 900 shooting wide and the 2000 on closer shots the difference is very little.
Thanks for any advice from anyone with experience using these two models.
Jeff

Perhaps the High-Res B&W CRT Viewfinder...
 

... is in its last days. I sure hope so. I'm getting real tired of looking at b&w circa 1960 viewfinders for critical focus. No matter what "old pro's" will tell you, it's rediculously anachronistic.

http://story.news.yahoo.com/news?tmpl=story&cid=73&u=/zd/20020213/tc_zd/5103136

Ken--

Interesting article. What a concept, to not have to carry a power-sucking B&W TV around on the camera! It'll be interesting to see how they're priced.

Cheers

I was thinking that the 900 might be better on the tighter shots and the 2000 on the more distant shots from the standpoint of higher res with the 2000 will pick up the smaller details more readily.

If you manually white balance, and the scene isn't too dark (ie-darker than the 900 @12 dB of gain) I'd think the two would work great.

I'm thinking of adding one to go with my canon (rt. now I've got D8, too, which is pretty good as long as you're zoomed in tight enough not to test the limit of it's resolving power). The sonys are much better mated, but I think the keys are: manual (and proper) exposure and manual white balancing. And of course, 3chips will mate better, too.

StudioDepot.com
 

While I was looking for someplace to get lighting gels and other obscuria I came across StudioDepot.com and thought others might also find it a handy and interesting source for such stuff. It's actually a division of Mole-Richardson, a 75 year old film supply house in Hollywood.

Bon Appetit!