Last night I was playing with the new iMovie 5 ($79, free on new Macs) and figured out a very nice HDV workflow for Mac users. First of all, it is important to mention that when installing the new iMovie, the Apple Intermediate Codec shows up in the QuickTime codec list. This portion is key to this solution. Here’s the workflow:
Sony’s first pair of HDV camcorders share the same chassis design and a number of identical features. There are, however, about forty-odd differences between them. Here’s a fairly comprehensive chart which compares the two. The HDR-FX1 is a consumer model; the HVR-Z1U is a professional version.
there is an option in the Z1U available to you which will allow for frame-accurate time code synchronization of several cameras in a multi-camera shoot. The procedure for this work-around requires only one person and one Sony RMT-841 Wireless Remote Commander (the wireless remote control which is supplied with each camcorder).
After checking it out on the tripod, they let me shoot with the cam with the shoulder pad and play the tape back on the Wega TV. I shot people walking by, panning and zooming in and out. I was amazed at how well the stabilizer worked…
General Features · Weight · 14x Manual Lens Compared · Servo ZoomND Filters · Back Focus · Summary · Specifications Chart The 16x Manual Servo Zoom lens introduced simultaneously with the XL1S in 2001 generated nearly as much interest as the XL1S itself. Backwardly compatible with the original XL1, the 16x Manual…
Radical Media was hired to produce a long form Internet spot for American Express, written by and starring Jerry Seinfeld with Barry Levinson directing. My good friend and associate Shane Hurlbut (Drumline, Crazy/Beautiful) was hired to DP the spot, and when he was told that the intention was to shoot on DV, he brought me on to operate and advise him on the approach to shooting a high-end DV project.
The second film in the series features Jerry and Superman taking a road trip somewhere in the desert in a 1965 Porsche. Our first day was to be spent shooting the scenes within the car, so we spent the morning rigging onto the process trailer which was to be towed by a camera car for Monday’s photography. Shane wanted to find the camera angles and lenses to avoid having to do that work on Monday morning.
These images accompany an article by Charles describing how he helped shoot an American Express internet spot starring Jerry Seinfeld and directed by Barry Levinson. The copyright on the images shown here is held exclusively by by Charles Papert, Jason Wawro and Gary Hatfield; all rights are reserved accordingly.
These images accompany an article by Charles describing how he helped shoot an American Express internet spot starring Jerry Seinfeld and directed by Barry Levinson. The copyright on the images shown here is held exclusively by Charles Papert, Jason Wawro and Gary Hatfield; all rights are reserved accordingly.
This section offers some operating tips gleaned from savvy XL shooters for the benefit of others. The idea here is to have a place to point everyone who asks, “how do I do that again?” without having to keep reposting the same information on usenet. I got the idea from watching how many times people have asked how to generate color bars on the Sony VX1000.