I forget... for internet video is it interlace? Becuase when I deinterlaced the video for internet it came out really distorted kinda...

No, it must be de-interlaced (progressive). This has nothing to do
with the web but with your computer monitor. TV's operate in
interlaced mode (they draw 50% of the screen first, skipping a
line each time. Then they draw the rest of the 50% in the next
pass). Computer monitors (at least the current ones, in the old
days even computer monitors could run in interlaced mode) run
in progressive mode (the whole frame is displayed each phase).
So to have the best playback you want to have a progressive
(de-interlaced) movie. A simple de-interlace might not yield
good results as you have found out. There are special products
and plug-ins available to do this a lot better. There is also a
technique (and I hope someone else will chime in with the exact
details) where you mirror fields and merge them to eliminate
interlacing effects. There was a thread about this on the board
a couple of months back I think, try to use the boards search
feature to find it.

If you go down the DVD (MPEG2) route you might leave it
interlaced (make sure the mpeg encoder knows the source
is interlaced!). Software DVD players have methods of de-
interlacing it while playing (check this out though if you want
to go down this path to make sure it looks okay!). Most of
the movies that come out of Hollywood on DVD are 23.976
(or 29.97) fps progressive sources though!

I do not currently own any type of video recording device, MiniDV, Hi8, or other.

I've been wanting a MiniDV device for some time, but I've not liked the form factor, or features of the sub $1000 market.

I do like the Canon XL-1s from a spec point of view, but I'm wondering if that'd be like buying the top of the line SLR for your first camera.

I was looking at the GL-2, it has a lot of similar features, but I was wondering if someone would be able to net out for me the main differences?

Also, do these two cameras work with the iMac and it's Firewire port? My plan is to edit, and write out to a DVD-R the video captured for my wife's family who lives a few thousand miles away and is missing their first and only grandaughter growing up.

I also would like to have some fun with this and do some amateur film making type things if the mood swings me. we did a lot of stuff in high school 'communication' classes and made some fun little movies. Don't know how they'd feel about some of the stuff we did in the late 80s compared ot the climate today (kids with aerosol flame throwers for special effects, etc) and editing should be a bit easier on the mac than the old editing machine my high school had.

Howdy from Texas,

<< I'm wondering if that'd be like buying the top of the line SLR for your first camera. >>

Actually yes, this can be one way of looking at it. Do you really need something like that? Do you really need the modularity of this system... will you be changing lenses a lot, etc.

<< Also, do these two cameras work with the iMac and it's Firewire port? >>

Perfectly. Apple and Canon are very tight with each other. Here at MacWorld in New York, Canon is adjacent to the Apple booth. The cameras and iMacs are adjacent in real life too. Hope this helps,

Anyone out there do a lot or some corporate video productions? I was wondering what everyone charges and how they charge? Do you give them an hourly rate for filming, editing, and post-production or do you charge by the minute of finished video? I was on the Apple website the other day, and one message was talking about this particular subject and they were saying that they were charging by the finished minute with the rate being around $500-$1000 per minute! I thought that kinda sounded high, but maybe the big companies make that. We run a 2-3 man operation here so its not like we have a crew of 20-40 people showing up for a shoot. If anyone has any suggestions, please let me know. We have our first really nice corporate promo about finished and it is about 12 minutes in length. We have spent a lot of hours with video footage, animation backgrounds, animated text, and superimposed voices of the president speaking while the video is playing. It is for a company that has annual revenue up over 1 billion dollars! I don't want to screw ourselves by doing it for nothing since this is our first chance to do something for this company. We'd like to do stuff for them in the future so I don't want to shock them when they get a bill. Any help would be greatly appreciated!

Wow, I would have thought you would have negotiated your rates before now. I do projects 3 different ways depending on the client and the type of project. Some projects are done on an hourly rate for all my services. Different services have different rates. For example, complex animations cost more than a simple 1 camera, lock down shoot. I keep an honest accounting of the time and materials and present sub totals to the client after completion of major parts of the production. Finish the script writing and the requested rewrites, client receives a sub total of costs to date. On large projects I require to be paid in thirds. One third at completion of script writing and client approves. One third after all shooting. Final third upon completion and client gives final approval. But everything is negotiated in advance, no surprises.

Many projects are done on a per project cost. I write the script or the client provides a script. I then determine the total cost to produce the script and client either takes it or leaves it. I rarely negotiate this type of project. I won't produce garbage and I know what it costs to produce a project (on a per minute basis).

The third type of project is done for free. I feel it is important to give back to the community. Presently I'm working on a fund raiser for a mission to migrant farm workers. They would never have the money to afford a video. Maybe it'll make a difference.

Jeff

I'm trying to to put video from television onto a DV tape. I have both a Canon XL1 and an Elura 2. Is there any way to input video on this cameras or do I have to get a media converter? Thanks.

The XL1 does NOT have analog video input.

The Elura 2 does have analog video input.

Consult your owner's manual for details on how to use the Elura 2 for this purpose. If you don't have the manual, you can download it from canondv.com -- hope this helps,

Is the Watchdog dead?

No, the Watchdog is currently on tour. Since the last update just prior to NAB, I've been on the road doing tradeshows pretty much consistently for the past three months (presently at VideoMaker Expo East). I've been home just long enough to do laundry before heading out to the next one. From here I go to the L.A. DV Show in Burbank next week, then I'm home for a whole seven days. Will try to get all the new stuff up then. Hope this helps,

Sorry to create another thread. But I really need to clear this up.

At the moment, I am letterboxing the video I shot in 4:3. The total height of the black bar is 25% which we could count easily based on the comparison on the ratio of 4:3 and 16:9.

But then, our video is projected at 720 x 576, while 16:9 is projected at 720 x 405, and this means I have to letter box around 30% of the total heights.

So which one is correct? I am outputtin my short film in 12 hours time. Can someone help me out? thanks a lot...

To begin with, I have always bought extended warranties for my cameras and over 15 years, I've scored 5 times the value for repairs, as the coverage cost me. This includes some pro models as well as consumer
cameras. But, none of the companies that currently offer extended warranties for higher-cost, 3-CCD models, are familiar to me. Can anyone give a recommendation for a good warranty company? Are there any good or bad experiences in this area that could help me?

Of course, the dealers sell only one brand of warranty and a good camera seller that also offers the best warranty may take some effort to identify. I'm looking for a 5-year policy, which seems to be the maximum available.

Steve McDonald

I know for a fact the if you buy a 3-CCD camcorder from the retail chain Ultimate Electronics (they carry the VX2000, TRV950 and GL2), you can purchase their five-year protection plan which is like an extension of the camera's own factory warranty. They deal only with the factory service centers and no third-party repair outfits. The plan allows for unlimited free cleanings, and if at the end of the term you've never had a repair claim, then you'll get fifty percent of your money back from that warranty. GL2 coverage is $250 for five years. Hope this helps,

Do not worry about the height of your black bars. Just make sure
the remaining picture is "around" 16:9 and you should be fine.

720 / (16 / 9) = 405

576 - 405 = 171 = 170 / 2 = 85 pixel height for every black bar...
so you get:

85 pixels black
406 pixels picture
85 pixels black

Hi - I recently purchased a CAnon XL1S and will be shooting mostly sports videos(surfing) and also about 6-10 weddings a year..

Is there really a big difference between "professional" tapes and less expensive tapes other than the price. It would seem that digital recording is digital recording..

I know not to switch tapes and use different brands, especially between Sony "wet" lube and other "dry" lube..

Is there an advantage to the wet lube or is it Sony's way of making sure you stick with their tapes only..

Also where is a good online store to purchase tapes at the best price..

Thanks..

Hi -

I shoot mostly surfing footage with my XL1S. I also shoot weddings. I am still trying to figure out the majore difference between using Frame and Movie mode. I have read all the other threads on this and am still confused..

I would assume at this point that for actions sports stuff the movie mode is best. While for weddings maybe the Frame mode is better. I don't know..

Any help would be appreciated..

Clueless!

There have been several discussions regarding this topic. Check the links below:

http://www.dvinfo.net/conf/showthread.php?s=&threadid=3219&highlight=tapes

http://www.dvinfo.net/conf/showthread.php?s=&threadid=2869&highlight=tapes

http://www.dvinfo.net/conf/showthread.php?s=&threadid=2519&highlight=tapes

If you are in the market for tapes, you might also want to contact ProTape - web address: http://www.pro-tape.com

Hope this helps.

There is no hard and fast rule. It's all personal preferences. I can't tell you what flavor beer to drink or ice cream to eat. I will suggest that you go out and shoot and see what you like. The frame mode has a different look than the movie mode. Shoot some moving subject in both modes and some stationary subjects in both modes. You will see a difference. I've seen weddings and documentaries shot both ways. It just depends on the look you want.

Jeff

due to bad electricity where I live, all my equipment goes though an AVR then a UPS. I never exceed half of their rated capacity. Problem is, my synth and rackmount gear switches off when the UPS backup power kicks in! Would a power conditioner solve this problem?

It won't hurt to try it (except your pocket, if it doesn't help). It's hard to sa what is causing it. It could be your equipment senses the problem and kicks off before the UPS can kick in. The output at start up of the UPS might not be stable enough and kicks the equipment off. Same net effect but different problems.

Jeff

I've been using Sony Excellence video tape in my XL1s with great results. However, I've been reading that the dry lubricant, such as that used by Panasonic, is better--less to clog the heads, causing dropout, although I've never experienced that (now I've probably jinxed it). Too, I see that the Panasonic Master tape is $1 cheaper per tape (I'm so tight I squeek when I walk). So. . .

My question is, will using a tape head cleaner be adequate in cleaning the heads preparatory for making the switch? I'm interested in your opinions/experience.

I would take it to a reputable local repair shop with Pro camcorder experience. In Miami there must be at least a couple. Ask them to just clean the tape path and upper drum assembly (heads). Cleaning tapes are not to be used for maintenance. I believe the cleaning tape would just move the wet lubricant around rather than actually removing it. Cleaning tapes don't clean the tape path very well. The rollers act as wipers and the lubricant might build up on the rollers and capstain.

Jeff

All,
I wanted to pass this along, and hopefully some of the DVinfo sponsors will start carrying this or like items.

I don't know if this pertains to all, but up here in Alaska and the North Western USA for that fact, has a high humidity and rain factor.

99.9% of all the work we do up here is out in the "elements".
We use hard cases exclusively, and those cases that have o-ring seals are king in our particular scenario.

On to the point............

I've been using this type of thing in my gun safes for years, and started to use silica gel packs in my camera/gear cases in the last year mostly due to the high humidity.

The product I've been using is manufactured by Hydrosorbent Products http://www.dehumidify.com/ProdDisc.html . Up here you can buy them locally due to the consumer need for this kind of thing.

I use the 40 gram units due to the size and ease of use.
Once it gathers moisture to it's maximum ability, just pop it in a vented oven @ 300 degrees for 3 hours and it works like new.

I keep 2 of these in each case weather I need them or not just for safety sake and to ease the worry of your expensive gear.

Even though this topic is pretty boring in comparison to most of the conversation going on in this forum.......I wanted to pass it on to fellow camera jockeys <:)

Rgds.,
Dan

Dan,
Ya know, that's an excellent tip especially for this time of year. Down here in Chicago (and many other parts of the Midwest) late summer days can be warm and humid with 65-70 deg dewpoints. Come nightfall it's not unusual to see a 25+ deg swing and the residual moisture wants to go somewhere. Or, worse, you bring your camera into an air conditioned building and whammo, the air inside your case becomes saturated. A dessicant packet in a camera case would definitely help to keep it out of your lens and camera.

Dessicant is dirt-cheap and many types are rechargeable buy baking on a cookie sheet.

Thanks very much, Dan!

panasonic dv-ds27

how can i open the firewire dv in on the cam ??

so that the cam can record from the pc

kh

I don't think the camera is enabled for DV in from the factory. However, there are several companies that sell special cables and software (firmware?) to enable DV In http://www.smartdv.co.uk/dvinpanasonic.htm . A review of the product is here http://www.smartdv.co.uk/review.htm I think that is what your looking for.

Jeff

Dear DV community,
I have been researching the pros and cons of forming your own production company before producing your own short film(s).

I have been reading books and threads in various forums, but I get really mixed results.

For now, all I want to do is to produce a short film.
Since my ambition is to become a producer, I want to produce the short film 'by the book' i.e. getting all the proper talent and location releases, NYC permits, so I would own the rights 100% of this short film. I am not expecting to sell it and get a profit, but I might as well get used to get all this formal things as I will produce other short films and of course it is my hope to produce a feature film.

I own some equipment and I have some savings (but not much - since the equipment is expensive and you always find new things to buy).

I would also like to avoid too much paperwork, but of course if the risks of not forming a company are to great, I will of course do that.

What would you recommend me to do? And what have you done?
Thomas

PS. I am hosting an Open House where people from the DV community can come and network on Saturday, October 5, 2002 @ 2pm in NYC. For more information and location, please contact me. You can e-mail me at thomas_y_b@hotmail.com

you are heading in right direction. talk to 10 persons and they will tell you 10 different ways to go about making a short project.

talk to more persons at your up coming open house.

if you haven't worked/helped on a project - you might try to work/help on somebody's project. then you will see/hear what is going right/wrong and will meet others that you can learn from.

At some point you take what you have read/heard/learned and look at your resources and GO for it. some area's will go easy others rough and you'll learn from it all..

Where do you get your Panasonic MQ minidv tapes? Pity ZGC doesn't have them, I get everything else from there :D
Ever had problems with customs?

Fuji is good, and cheap at places like Superstore.

I've seen only a few comments on each of these machines... basically to the tune of "The DR7 is great!" and "I've seen some problems with the JVCs".

I'm looking to confirm that or get other opinions before making my purchase... I obviously like the $1150 price on the 30U (or $900 on the 20U) better than the $1800 or so it looks like the DR7s are going for now. I don't think the full-size DV capability is worth $500 to me, and the no US warranty scares me, but if the Sony is really that much better a unit than the JVC I'm sure I'll be better off paying more for it now!

Any comments at all, whether you've used them yourself or just heard others experiences, is welcome!

(btw, I'm using an XL1s and Pinnacle Pro-One)

Thanks!

Matt

Check with Pinnacle and make sure they support that deck. Not all decks work with every NLE. Pinnacle will let you know if they have had problems with a deck. Anyone using any of these decks?

Jeff

http://www.datavision.co.uk/dvdrive/

Anyone ever tried this product? Sounds interesting since it is
so very small. It doesn't seem to automatically record (like the
firestore) though. You have to hit the record button on it. They
are also claiming a new model is coming, so perhaps that one
will have that feature.

i believe i saw this product in the latest MacAddict zine.
20GB for $400?

What are the alternatives to Movie Magic Scheduling for no budget filmmakers. Any suggestions for an organizationally impaired filmmaker?

Excel.