clint eastwood used z1u's!
 

for the movies "flags of out fathers" and "letters" he used sony z1u's at 25cf for effects shots sealed in ammmo cases..... read on....

http://digitalcontentproducer.com/wo...s_HD_11142006/

It's interesting they went public with this, because we were told no one was permitted to speak about any gear used on the film.
Nice to see that it made it to print.
The interesting feature is that the cams were used at CF25, never converted to 24p. Yet more interesting is the "proprietary system" used to "deinterlace" the footage. ;-)

Stop gloating Chris! You're just rubbing it in that you stole my Z1U for next to nothing!

Well, I'm impressed. When I went to the movies, it was just like any other film I've seen.

And CF25? I thought that was a pal thing? And that you guys over in the states usually use CF24, or 30.

*shrugs*

Fascinating peek into the world of big film. Thanks for the pointer...

Actually that article doesn't say Cineframe (CF) was used; the exact quote is "shooting 25 frames (per second)". Since it says they deinterlaced it, I think they were probably shooting 50i (50 fields per sec, or 25 frames per sec).

Lou, the Z1 can shoot in both PAL (50i) and NTSC (60i) modes. In 50i mode you have the option to use CF25.

We were informed they actually used CF25, but since we weren't there specifically, don't know that information to be accurate. I do know where the CF25 workflow information and training came to the crew, and it's the same workflow information/training that has been used for television production mixing film/HDV.
I'll see if I can worm a definitive answer from a person who was on hand for some of this project.

Very interesting Spot, thanks! I'd think it would be "cleaner" to use the native 50i mode if you are going to process the frames in post anyway. Will be interested to hear what you find out.

depending on their workflow, it generally is easier to shoot 50i, but they didn't convert this to 24.
The general "Hollywood" workflow is to shoot 25p/CF25, and slow it by 4% to get it to 24 to match film, Varicam, HDCAM, whatever they've got.

thanks tom!

was a great deal! makes up for having to bend over for the repairs done on my skid steer.... like a hole in the ground to put money in!

What cam did you end up getting after the Z1... and are you happy with it?

DSE.... what's your guess on what the "proprietary system" is? Is a rose by any other name?

was it yours? ( you made one right? )

I've been using nattress.... just easy I guess..... and it looks good to me.
Best $100 I ever spent.... well... cept maybe for that acupressure session when my siatica was acting up.

For my film 9:04 AM, we shot in 50i/CF25 and for outputs to view on DVD players, etc., I use Cinema Tools (Apple) to convert to 24p (23.98 fps). Sound is fine, except with music, I notice. So if you're doing anything with music (I'm not sure about sound f/x), I recommend doing the conversion to 23.98 fps then adding music to the 24p timeline. The above work-flow is from Graeme Nattress.

Also, someone asked about what we're using (CF30, 24, 25) and I'll say this. We used CF24 on a film I directed called 3 Sisters (http://www.theflux.tv/files/movies/i...3_sisters.m4v), but I generally use 60i with a Nattress (www.nattress.com) 24p filter or shoot in 50i/CF25.

If it's for TV, I'll generally shoot straight up 60i, but sometimes I'll want to take away the "TV look" with CF30 to give it a more 30p look. Spot turned me onto that.

Overall, I like to do as much in-camera as possible; less rendering times, more control of the final image before post, etc.

heath