Plan to test it for an budget feature and idea on LANC
 

This surely isn't a pro camera, but we do plan to get one to test with a 35mm adapter for an upcoming feature ( to be a SAGIndie ) being shot in the Bay Area. Do not be shocked if parts of the movie Jamelske ( a fictionalized telling of John Jamelske's horrific crimes ) end up being shot with this camera. Most of the piece takes place on a single set with very controlled lighting. We will be renting a HVX200 though and doing select slow
motion on good old 16mm, but the HV20 may share a lead part based on
HV10 footage. We plan to print the trailer to 35mm film, so the only
concern really is how well the 24p will transfer as I believe the
shutter works quite differently then with film or CCDs. Any
recommendations to try there would be appreciated. Thinking of trying
the shutter at 24fps versus 48, but not sure, might test both. We are
also leaning toward looking at the Brevis35 if it works easily with
the HV20 as know it can work with a HVX200 and is quick/easy in general to setup.

This is a bit obvious, but one "alternative" to LANC, without hacking
the camera, is to tape ( gaffers tape of course ) an IR light to the
remote sensor on the HV20 and send the proper pulses/signals. The
lights existed for X10 and such to control VCRs, though not something
we'd need ourselves with 35mm glass out front. Could make selling your
camera after the project easier, but just one suggestion. Even taping
the remote to your brace/rig pointed back at the front of the HV20
could work in a bind.

Regards, Alan

Alan,

Near time to start your own thread about this endeavor! I am hoping to enact the same setup - HV20 with a Brevis and Nikkor lenses.

Myself and others are sure to be very curious how you progress - keep us posted, and the best of luck! Sounds exciting.

will post a thread for you if we test
 

Will be real honest that I'm into scripts, actors and production more than hardware, but I often reference these forums, so will be glad to post some results if we do a test and I believe that is quite possible sometime mid April.
Regards, Alan

Does the HV20 have an automatic lens cover like the HV10 does?

Yes it does.

Thanks, Ken. :) Glad to hear it.

Jim

It occurred to me that the HV20 might be an interesting match up with the Merlin for those flying scenes. Considering their combined weight, arm fatigue would be much less of a problem than flying an A1 for example.

Any thoughts on how well the HV20 might match up in post with the A1 assuming well lit scenes?
Bob

Bob, this was my very thought when I first saw a picture of the HV20--I had tossed around the idea of the HV10 but the tall skinny form factor was something of a deal killer with the Merlin (I would have made a lead weight plate to fit under it that would have brought down the center of gravity). But now, the HV20 is a really nice squat mass that will feel great on the Merlin. Certainly a light package which is a dual edged sword--easy on the forearms but tougher to control.

We discussed the matching question at Birns and as I recall the conclusion was that you would have to paint the A1 to match the HV, but it would never deliver quite the same image due to the different sensors (the A1 and XLH1 meanwhile can be painted to match beautifully). I would feel a bit nervous about dependable intercutting between the HV and the A1.

Well it couldn't be much worse then Clint Eastwood using a Z1 to match with film for his latest two movies. While they are not a perfect match I'm sure they could be made to match very well in post with some great care.

I'd agree. I bet if there wasn't the issue of 'smear' in a given scene, many many clips would be very tough to tell if they came from a CCD or CMOS based cam.