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Sony XDCAM EX Pro Handhelds
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Old June 11th, 2008, 09:37 PM   #1
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EX1 to 35mm

Hello,
A client of my want to shoot a movie with the ex1 and then blow it up to 35mm for theathers.
Do you thingk he would have a good result?
And what should be the workflow?

Thanks jurgen
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Old June 11th, 2008, 10:52 PM   #2
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Check out a Movie called "Once". It was shot with a Z1u. Honestly not the best camera work out there but still a 35mm Blow up.
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Old June 12th, 2008, 12:07 PM   #3
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Can anybody tel a little more about ex1 and blow up to 35mm :)
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Old June 12th, 2008, 12:14 PM   #4
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http://www.showreel.org/memberarea/article.php?355
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Old June 12th, 2008, 12:15 PM   #5
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email me at firstcin@hotmail.com and i will send you a pdf file about the movie.
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Old June 12th, 2008, 03:04 PM   #6
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also, go to http://www.reel-show.tv/
sign up, it's free, then click on hardware reviews on the right side and you will see 2 storys about the EX1.
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Old June 12th, 2008, 06:16 PM   #7
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A few years ago we made several commercials for exhibition in local theaters. We shot them in Betacam SP, and they looked good when transferred to 35 mm film, though the limited video latitude and interlacing artifacts where still visible.

Now, when I compare Beta SP shots with EX-1 shots, I am just amazed of "how could I have been working for so long time with such a poor equipment?". So, by logical deduction, I think a 35 mm transfer from EX-1 footage will look VERY GOOD. Anyway, as long as the camera work is well done, I'm sure the average viewer won't be able to tell if a film was shot with a Panavision 65 or with an EX-1...
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Old June 12th, 2008, 11:39 PM   #8
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You will want to shoot at 24p to get a frame for frame match on film. I don't know what you're editing on, but Final Cut Pro will let you output the edit as either a Quicktime movie or as a sequence of frames(tiff files for example).
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Old June 13th, 2008, 08:22 AM   #9
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Quote:
Originally Posted by Matthew Pugerude View Post
Check out a Movie called "Once". It was shot with a Z1u. Honestly not the best camera work out there but still a 35mm Blow up.
Seemingly, the director decided that they shouldn't use any lighting.
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Old June 13th, 2008, 09:12 AM   #10
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Well, using existing light isn't quite the same as not using any lighting at all... the technique of substituting photo lamp bulbs into regular lamp fixtures has been a staple of cinematographers for quite a while now.
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Old June 13th, 2008, 09:14 AM   #11
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Plus the EX1's low light response is way enough for most existing light situations. So, mostly, if you can see it, you can shoot it.
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Old June 13th, 2008, 11:00 AM   #12
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Well, using existing light isn't quite the same as not using any lighting at all... the technique of substituting photo lamp bulbs into regular lamp fixtures has been a staple of cinematographers for quite a while now.
Lighting in this case using film lights to "light" the film. However, I wouldn't count using photofloods as existing light either, having used them when shooting 40 ASA Kodachrome 8mm film many years ago. Useful tools, but perhaps less needed with modern high speed sensors and film stocks, even 100 watt bulbs can be too much at times.
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Old June 13th, 2008, 11:13 AM   #13
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interesting tidbit...

I attended a discussion at HDExpo in Chicago last week with guest speaker Bryan Carroll (Collateral, Miami Vice, Public Enemies.) He suprised us by saying 97% of Public Enemies was shot on the F23 with some of the remaining 3% being shot on... You guessed it, The Sony EX1! He stated that people forget the second part of the equation when capturing with the EX1, the deck you capture to. They used an SRW1 deck ($125K) to capture to, using the EX1 as the "police cam" for obscure and tight shots. Still cool to hear from him who is working with Michael Mann on Public Enemies right now.
Peace and Blessings,
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Old June 13th, 2008, 11:33 AM   #14
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Originally Posted by Danny Hidalgo View Post
I attended a discussion at HDExpo in Chicago last week with guest speaker Bryan Carroll (Collateral, Miami Vice, Public Enemies.) He suprised us by saying 97% of Public Enemies was shot on the F23 with some of the remaining 3% being shot on... You guessed it, The Sony EX1! He stated that people forget the second part of the equation when capturing with the EX1, the deck you capture to. They used an SRW1 deck ($125K) to capture to, using the EX1 as the "police cam" for obscure and tight shots. Still cool to hear from him who is working with Michael Mann on Public Enemies right now.
Peace and Blessings,
Hidalgo
I was actually on the set in Lincoln Park while they were filming. I can confirm that they were filming with a bunch of F-23's and I did see them bring out an ex-1. If I am not mistaken, I thought the footage they shot with the ex-1 was for dailies or reference, and not actual footage to be used in the movie. If it will be actual footage, that's awesome.

I was at the HD expo as well but attended the XDCAM EX workshop which was not bad.
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Old June 13th, 2008, 02:26 PM   #15
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Brian
Tell me about it.

Most of my tungsten instruments are 1Ks and 2Ks, and I've had to put 500W or 300W bulbs in them since moving to the EX1, especially indoors.

Bought a load of smaller Fresnels (100-300W range) and also them tube-shaped cool light bulb thingies (note the sohpisticated technical term here, the proper word escapes me for this second) - they seem to work great too these days...

I did a courtyard night basketball scene with a single 2K high up and to the rear of the court, and four Mylar mirrors as filler with 4 people "operating" the reflectors. For the reverses I had another 2K set slightly lower on the other side and everybody just moved around.

Don't think I could have done that in the good old days...
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