You mentioned your workflow of capturing over firewire using DVHSCapture, and then converting to converting to DVProHD using MPEG Streamclip. As I'll probably be using the A1 or G1 in the future, can you outline this process a little more, or know of a tutorial that does? With the quality of your output, I'm very interested. Also what is DVHSCapture, I did a quick search, and google just pointed me back to this forum where you mentioned it :P

Go to this address and download FireWire SDK 20 for Mac OS X (DMG). In it are the two mini apps you'll need (VirtualDVHS and MPEGStreamclip).

the http://developer.apple.com/sdk/

You might try searching some of the forums at XLCinema.com for some workflow solutions similar to what I did.

http://www.xlcinema.com/cinematic/sh...vhs+streamclip

The A1 and G1 will probably give you the same picture quality as the H1. I can't testify as to the quality of the fixed lens. But the CCDs and processors are the same. So I see no reason why you wouldn't get similar image quality results.

But remember. There's no substitute for a good cinematographer.

Cool, thanks for the info. Also, I curious as to your opinion on using a camera like the H1 with stock and additional lenses in comparison to getting a 35mm adapter for film lenses. I built my own, and plan on using it with the A1 when it's out, but I think with the size of the CCD's and lenses, you can get a similar look just using the lenses for the H1, or am I wrong?

Just trying to find a film like solution that yields the most optimum results for the least amount of money and difficulty.

Also, just as a non-image sidenote... whoever the sound artists are (composer(s), engineer(s), foley), they did and excellent job... I'd love to see and hear the entire film!

I think controlling DOF is a bit overrated. That's not to say that I don't want some control of DOF on certain shots. And on rare occassion there are times when I really want very shallow DOF. But, ultimately, I think using stock/standard Canon lenses are perfectly acceptable 90% of the time.

Also, I'm not a big fan of the 35mm adapters. I think they're very finicky to use and the results are often iffy or the DOF of so shallow that achieving critical focus is impossible (kinda like DOF characteristics of 65mm at wide open).

Composter = Megatrax

Sound design and foley = your truly.

OK, that's it! I'm quitting school and moving to LA so I can beg and plead to be an intern for you!!!! ;)

I wasn't a big fan of 35mm adapters either and it took me 2 years to eventually get off the fence. The Letus35XL is really a great testament to where this technology has come. (you can find some test footage of mine in the Letus35 area of dvinfo)

I think it just comes down to a focus-puller with a sharp eye and an HD monitor.

I do have to admit, with the advent of the "35mm look", most amature film makers like myself are overusing it, which I can say I've already found in my own work. It will probably be awhile before the usage of adapters like the M2 or the Letus35 matures, and is used as a tool rather than a perminent attachment. Also, as CCD's get larger, allowing for easier access to shallow dof, there probably won't be too much of a need for 35mm adapters... although this is only an assumption as I am by far no expert in this.

Ultimately, the REDONE will be the ideal "35mm look" Ultra-HD camera if it delivers on its promises (as far as DOF is concerned). For now I think 35mm adapters on 1/3" HD cameras is a bit of stop gap measure.

We've decided not to be beta testers by using Red on our upcoming feature film. So we're going with dual XLH1's feeding into uncompressed HD-SDI capture stations (rolled around on a customized Magliner). We'll have one Letus35XL and a couple primes on set for those select few shots where shallow DOF is a must. Otherwise, we'll be using primarily the 20x and the 6x lenses.