New Music Video shot on Sony HDR-FX1E and 35mm adapter

[Dennis Hingsberg]

Viktor, try the alternative imaging section of DVInfo.. everyting you want to know is there. You can also read through the PS Techknic area, I recently wrote a message describing the inner workings of the mini35 from a technical standpoint.

The principle is very simple - once you understand it ;)

[Rafael Cruz]

Nicholas great job! i really enjoyed your short film alot "riddle" nice twist on there
and award deserving piece of story telling. now as for the video do you mind sharing your workflow with the fx1 as everybody knows the fx1/z1 are know for lack of real progresive imaging, did you shoot on 60i and deiterlaced on post ? to what 30p? keep it up youll be one of the big ones! good luck

[Nicholas Bartleet]

Hi Rafael, thankyou so much for your kind comments, i really appreciate it. It makes me want to go and work even harder. Anyway, i always tend to shoot in cineframe or the equivalent. I actually live in the uk and therefore have the pal version which i am told is considerably better in cineframe than the ntsc version. I did use to shoot my xl1s in frame mode too. I have to say, i think a lot of fuss is made over true progressive and frame modes and loss of resolustion and deinterlacing in post, however from the tests i have done i havn't found the difference to be noticable enough to warrant the extra hours. My advice would be to keep this part simple, and spend sime on production and grading (color correction) etc, but thats just the way i work, everyone has their own methods i gues. I also really find it necessary to edit with progressive video becuase i hate looking at interlaced cr*.*p. I hope this makes sense.

Thanks again Man

[Alex Raskin]

Nicholas, nice work - and The Riddle is also great.

You might want to submit your music video to the HDV Festival we're organizing: www.HDVawards.org

Regarding the Cineframe - I also tend to use Cineframe 30, and earlier consensus was that there's a built-in smart deinterlacer in Sony HDV cams that only loses resolution in the moving areas of the image.

However later article by Adam Wilt suggests that the cam simply trashes one field.

I'm not sure what is really going on, but it seems like the are 2 approaches:

1. Just like you said - keep it simple, shoot in Cineframe 30 (here in US anyway) and then edit as progressive video.

2. Alternatively, shoot without any Cineframe modes to keep resolution as high as possible; then deinterlace in AE + Twixtor Field Set (that's what I do), then output back to Cineform AHD for editing. This approach totally kills mobility, but supposedly allows you to keep all the image quality you want to keep. Plus, you can even dial in how much motion blur you want with your progressive image (using other AE plug-ins) etc.

If I knew for a fact that Cineframe 30 does not just discard a field, i would stick with #1 as you do...

Another great thing would be for Cineform AHD to actually smart-deinterlace the 1080i footage on conversion from m2t to AHD avi. That'd be the day.

[Miguel Lopez]

Originally Posted by Jeff Nelson

Very interesting 35mm adapter you put together. Is this from the redrock book that you figured that out? Is the image upside down in the eyepiece and you have to flip it in post?

What lenses do you use? 35 still or cinema glass?

How'd you make that dolly?

All very cool! Now, you just need something to do some curved shots around your subject, like the one they have here http://www.ready2roll.de/Skatertest/...d%20Moves.html

Hi Jeff, how did you find this great video? Quality is superb and lighting is also great.

[Cy Hogg]

Hey Nicholas, great job. I've seen Macgregor's work, which is also fantastic and inspirational, but regardless, i loved your piece, definately solid. Please post some pics of your track and dolly, i'm about to either build or buy one and i'd love to learn from your experience if you're willing to share with us. Also, i'm interested in buying a jib, please let me know where to look if you have an opinion on one that is well enough made to be usable for pro level work. Have you played with Flourescent lights at all? I saw the redhead in your pics, which i also have, but just ordered some Flouro's and i'm curious who's worked with them.

[JT Coleman]

Nicholas,

You're my new hero, these images look great ! ;p

please excuse my stupid questions, but i am a little new to this and trying to figure out how to achieve a look like this is my new goal. I own an XL1S but all of my stuff has come out looking very flat/digital.

If you don't mind, can you give me a little more information on what you did? specifically, I am curious about..

- your lenses. it sounds like you custom fit them with gear rings, and built your own follow focus...?
- your lighting setups. it was hard to tell from the behind the scenes pictures, could you give me a brief overview of the lighting set up you did?
- your video assist... what kind of monitor do you use?
- and, lastly, how much grading / color correction did you end up doing in post? was this done in premiere? aftereffects?

again, sorry for the newbie questions and thanks !

JT
Austin, Tx

[Daniel Nunez]

It was so good. Congrats!

[Anthony Jackson]

Keep up the good work.I like the color in the video nice editing.
Look Like pro work.

[Carlos E. Martinez]

Originally Posted by Nicholas Bartleet

Anyway, here is the link to the video, I just wish everyone could see the quality of the original.

http://www.pixelloft.com/3lflex.htm

Nick

I think something is wrong with the URL. I am taken to a site with photos only, no video.


Carlos

[Alex Raskin]

Cy Hogg: I see from your post above you're interested in a dolly, and I have a perfect one for sale. Please contact me directly.