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Old January 17th, 2007, 03:48 PM   #1
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Misc. Open DV from 2007

Why video became the illegitamate stepchild of cinema...

My first introduction to video was less than impressive.It was a black and white camera about 3 times the size of my super 8 and a reel to reel half inch deck that went to snow when the tape was rewound or fast forwarded.It was 1973,I was in the 8th grade and an AV nerd.I had enjoyed some success with super 8 film projects for science and history classes as well as sports
and already knew my way around a theater projection booth.I had also been doing internships with local TV stations and production companies.I had served as a PA on such 16mm epics as "The Reason for Medicaid" and "Kaybolt Wrecking Company".

At that time,there was a pretty decent "middle class" film business.16mm industrial films,commercials and corporate presentation films kept local production companies busy.Actors,cameramen,musicians,editors and lab folks all had work and didn't have to make an exodus to Hollywood to earn a living by their craft.

The video revolution of the 80's caused the businesses that hired 16mm film people to reinvent their audio visual needs.Cheaper cameras and decks as well as the sudden liberation from film stock costs and lab work seriously devalued the product.Small,fly by night video production facilities sprung up overnight offering cheap production at cut rates.Quality control became nonexistent.The middle class film market died.

Today,what once needed a full production and post production staff can be done by one person with a camcorder,a laptop and an LCD projector.Progress,I guess.

I'm hopeful though,that what killed middle class filmmaking will someday revive it.Prosumer HDV cameras have finally approached "virtual" film quality,very close to 16mm standards,some say it surpasses it,though I think that's debatable.Still,you factor cost of film stock,processing and telecine and what differences there are between HDV 24P and 16mm become negligible.

I'm even more hopeful that the recent advent of RED camera technology and Silicon Imaging's latest that doors will be open to a new generation of independent filmmakers who otherwise would have only dreams.
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Old February 5th, 2007, 07:12 AM   #2
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Zebra Pattern Origins


Does anybody know the origins of the zebra patterns? When were they first used? Which camera was it?

Any information along those lines would be great.

Thanks very much,
Afton Grant
Afton M Grant, Steadicam Operator
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Old March 3rd, 2007, 01:32 PM   #3
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Questions regarding turning a HD camera into a 35mm telecine

Hello, all,

I am a film collector and have many reels of original 1910s - 1920 silent era film. Film preservationists have assured me that I could do very well releasing a few DVDs because most are one-of -a-kind.

Over the past two years, I had put a couple thousand dollars into this 3k HD telecine project and have all the equipment I need except for the camera to digitize the frames.

I was going to use a Nikon digital SLR camera that would have been perfect but after waiting for the price to go down for 8 months I just found out last week it is rated at 50,000 exposures, meaning, it's expected to die out after capturing 35+ minutes of film.

I need advise on several things. In order to transfer my films to digital I will be converting 35mm and 16mm motion picture film frames to individual digital photo files. A program will take these files and compile them into MPEG for HD video.

Attached is a frame closeup using my current digital still camera, barrel disortion and all. From the film SHADOWS (1921) starring Lon Chaney.

My spending range will be $700 and less. I am looking at several consumer near HD camcorders right now. The Sony DCR-DVD405 looks like it will do 3k photos and zooms in nicely on a 35mm and 16mm frame. Panasonic VDR-D300 may do the job, too but is not HD. Am I right or wrong?

One problem with the Sony DCR-DVD405 is that there is built in image sharpening and it produces "stepping" on curved lines, as seen in this review.

Is there a way to disable this? Or can this be smoothed out in video editing software?

I also need this camcorder to to plug into my PC so I can get the frame grabs. Will this Sony plug in like a "webcam" and provide my PC images in the same exact resolution that it would record within the camera or be downsampled?

There seems to be no barrell disortion with the macro lens, which is essential. Color shifts are okay but I can't have any lens disortions.

I am very stuck here. Any advise on this or perhaps better camera models would be wonderful.

Or should I be looking for another digital still camera?
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Misc. Open DV from 2007-mvc-025f.jpg  

Last edited by Darren Nemeth; March 3rd, 2007 at 01:34 PM. Reason: to change a few words.
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Old April 3rd, 2007, 01:54 PM   #4
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Shooting a documentary at Mt. Washington have some general questions.

Hello all,

I'm going to be shooting a skiing documentary at Mt. Washington in a few weeks and and I had some very general camera questions so please give me some of your suggestions.

First off I'm deciding on what cameras so use and if this is a good choice:
*I'm wanting to shoot some HD footage so I'm thinking of renting a few of the panasonic HVX200 camcorders. I also have a sony fx1 that I want to use to do some time lapse footage.
* I am also going to rent out a few helmet cams (not HD i know but oh well bad quality helmet cam video is excuseable)

Questions :
1) are the hvx200 good cameras to use? anything better in the price range?
2) will the hvx200 footage and my son fx1 footage blend somewhat decently?
3) do you have any suggestions on good helmet cams ?

Also if you have any other general suggestions or comments I would appreciate them.

Last edited by Mark Light; April 3rd, 2007 at 01:55 PM. Reason: adding content
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Old April 15th, 2007, 10:34 AM   #5
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Are any lens techs here?

Are there any lens techs here?

I have an Angenieux 16-64 zoom which was "repaired" in Singapore and the optical cementing work was bad.

I got it used cheap some time back and the assumption then as that evident pale smokyness in the image was from lubricant which had condensed onto lens surfaces, an easy fix. But, all the bonded doublets themslves have had bad work., not such an easy fix.

So the assessment is that it is not economic for repair.

Except for decementing, cleaning and recementing the doublets which I could do if they were balsamic bonds, the stripdown and re-assembly/collimation is within my abilities.

Web info so far has been to try methylene chloride solvent. Immersion in a sealed container for two weeks has not even frightened the cement on the troublesome doublets. Heating to 215degrees C fared no better except to turn the white foggy cement bond dark.

Any advice appreciated.
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Old April 18th, 2007, 03:35 AM   #6
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filters for Canon YJ13x6B IRS wide angle lens

Hello everyone

I have just bought a Canon YJ13x6B IRS lens for my XDCAM F350. I could afford a HD wide angle 1/3 lens with extender, so I got an SD one. I don't thinks my clients will notice any difference.

Is anyone out there using a Canon yj13x6b IRS wide angle lens with perhaps a UV filter or a circular polarizer? If you are which ones are you using? Is the filter diameter I need 85mm?

I know it sounds silly but I can't see any screw treads on the front of the lens. Can you screw filters onto the front of this lens or do you have to use a matte box to hold them?

Thanks for your help as always!

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Old April 23rd, 2007, 05:07 PM   #7
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Nattress film conversion question

I've applied a Nattress G Film Conversion filter to a clip, dropped it into the source well, rendered it but I'm still getting "Drop Clip in Source Well to Convert" appearing on clip.
What am I doing wrong or haven't done?

Cool set of filters by the way.

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Old April 26th, 2007, 11:23 PM   #8
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OT: Industry Question

Hey guys, i've been thinking of getting into Post-Production for Film/Commercial/MusicVideos/etc.. and im wondering what the industry is like. is it overcrowded with people and few jobs to offer? (competitive)? or is it a good field to get into? I just want some insight on what its like working in this industry.

Thanks in advance everyone.

Last edited by Mike Richards; April 27th, 2007 at 12:14 AM.
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Old April 29th, 2007, 01:21 PM   #9
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Making the costumes this month for a feature film

So I'm putting together all the costumes/set pieces/props for the film we're shooting in June-September. One of the costumes is for a character that is a demon. His skin is jet black. I was wondering what type of body paint would be best to do this. I was thinking of using liquid latex but in all of the pictures I've seen of it used on people that stuff looks really shiny. I don't want his skin to reflect light. Any suggestions?
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Old April 29th, 2007, 08:53 PM   #10
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audio and lighting questions

hello, my freinds and I want to start production on a expirimental pilot for a

""""reality show""", for a student project. we have two dvx100a cameras. no audio. no lights, no lenses. LITTLE MONEY...
does anyone here have any advice on a quality mic/audio equipment as well as some sort of portable lighting that would be good to follow our subject around town indoor and outdoors....also if anyone has any advice on settings to make the best quality i would appreciate it....thanks
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Old April 30th, 2007, 02:06 PM   #11
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Working as a Producer for an Indie - back end deals

Hello All,

So I am beginning to work with this director on a script that he wrote. He has brought me on as a producer and we are excited to work together.

Now the project is about to being filming in a week and It just came to mind that I haven't gotten anything in writing. As a matter of fact, we haven't discussed any deals (in regards to payment). Now i understand that i'll be working for free - credit & food, and i'm fine with that. But as I gathered information with SAG actors, i realized they get a back end deal. So they're not getting paid either, but if the movie is a huge success like "Blair Witch Project", they get a piece of the pie. And I too would like to be compensated like that, deservingly so.

How do i go about this? Are there any forms online that you could direct me to so i can get a signature on a document.

I'll keep the community up to date on this project and thanks for your advice.

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Old May 1st, 2007, 08:54 AM   #12
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Short film makers who use firestore...need input

I am debating over the Firestore FS-C 60 and 100. When you shoot short to hour long films, is the 4.5 hours enough? DO you ever feel pressured to squeeze work in? I know it depends how many takes per shot etc...but for a 1 day shoot should 4.5 hours be enough? Or is it really safe to go with the 7 hours. I plan to shoot action/epic style stuff if that makes any difference.
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Old May 3rd, 2007, 10:01 AM   #13
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Vortex Media WarmCards?

I bought a set of WarmCards from Vortex Media and I really like the looks. I have one question though:

Has anyone found a use for the Minus Green card? I tried it yesterday under the flourescent lighting of a weight room for a documentary I'm shooting and the color was great, but way too cool (opposite of warm), especially since the focus of the doc is on people which seem to need that warmth added to look good on DV/HDV footage. I thought the Minus Green card was used for flourescent lighting, or is it just for flourescent lighting with a strong green cast?

Any experience in this area or examples of where you have used the Minus Green card? Do you just use the +1/2, +1, +2, or +3 WarmCards most of the time?

Any help would be greatly appreciated.
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Old May 8th, 2007, 05:36 PM   #14
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d-tap connectors

I need a source of the connectors (In the UK preferably)

Failing this I will have to cut my cam light cable and create patch leads heheh

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Old May 18th, 2007, 09:03 AM   #15
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Tracking Issue

I am not feeling very bright today. I bought a used Betacam SP UVW-1200. I need to control the tracking for a dub I just received. I cannot find the controls for that. Can anyone help me???? Please!!!!!
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