Sorry, I didn't realize you were in Brazil, (a country I love by the way). Is it possible to rent any other HD cameras there, maybe in Sao Paulo? I'm actually interested for my own purposes.

Thank you

Daniel,

Did you get a chance to call Panavision?

SAO PAULO, BRAZIL
Motion Producoes
Phone: 011-55-11-872-5810
Fax: 011-55-11-864-0833

RIO DE JANEIRO, BRAZIL
Motion Producoes
Phone: 011-55-21-232-7716
Fax: 011-55-21-507-3183

Paul and Rob,

Good work helping our filmmaking friend down South! That's what makes DV Info Net such a great community: helping out!

heath

alright...
 

heath is right, thanks a lot everybody.

i will call motion producoes. but im already expecting a big bugdet to rent this HD CAM.(a photographer whos my friend in Rio said that).

the real problem about doing films in brazil, besides how the hard part that is to get money from goverment its that we have to spend this money only in Brazil. so, if i have 100k, i have to spend everything in brazil.

all the brazilians movies are made with the goverment funds.

but we can arrange a co-production with americans.

but we can pay for Human work - doesnt matter if the person is from america or brazil, but he have to work in here.

its impossible to rent equipament anywhere or edit and film-out outside brazil with my production money.

the only way, as i said, is to have a co-production with a company from outside.

anyway, PAUL Mogg. you said you like brazil. are you a photographer?

ciao

Hiya! You could try asking on the CML for a D.P.:

http://www.cinematography.net/index.htm

You might even find one in Brazil there!

love

Freya

<<<--
Tell me your opinion of the artifacts from converting 30fps to 24. In motion, like a real audience would see it. Not paused, movies don't pause. I'm curious what you think. Please don't comment on the crappy hand held camera work, I was just testing the camera out !
-Les -->>>

Wow, that looked preety amazing!

However I'm not sure my computer is coping so well with the large file size and playback.

The shots look a little slow-mo to me, have you gone frame for frame from 30 to 24?

There also does seem to be quite a bit of severe motion blur, that might be down to the sad speed of this computer however, I managed to speed it up a little and now the blur problems are mostly only really visible on close ups. They are somewhat distracting but then I thought the footage in festen was more distracting.

My feeling is that the problems are minor and could be solved with more reasearch into them. I'm certainly impressed. :)

love

Freya

Daniel!

One possibility might be to shoot a mixture of 35mm and JVC.
You could buy a really nasty old 35mm camera cheaply and film the MOS stuff on that, then whenever there is dialogue, you could use the JVC. They might not intercut so well but then it all depends on what kind of film it is. That could be part of the style.

The advantage of this would be that you could film the fast motion shots on film and the low motion shots on video. Typically when people are talking they don't move so much and when there is fast action people don't tend to have conversations. There are exceptions to this of course like big rows where people shout and throw things around. ;)

The JVC problems mostly seem to be in the area of fast motion.
It could be a neat compromise for working fast!

love

Freya

BTW I read a lot of people going on about how the JVc had not been used in a film out before and stuff, but as I understand it, there is a scene in spykids 3 shot on the camera?

I think it is a scene in a phone booth but don't quote me on this I think Mr Rodriguez was rather vague on the matter so I could be wrong and have misunderstood.

love

Freya

If that's true regarding the JVC being used on Spy Kids - I think it's worth getting our DVinfo watchdogs on the beat. Who lives in Austin Texas and can knock on his door and ask him? Otherwise, who can find out???!

Maybe his number is actually listed? Anyone tired calling him? I know for a fact that a lot of actors, directors and producers don't have unlisted numbers! When I was in LA doing work for a entertainment company "celebrity red carpet" we actually grabbed phone books and called A and B-list actors, directors etc....

I can't find Rodriguez anywhere though, so maybe someone in Austin has a local phone book? Worth a try...

Heath, can you try and get an interview for Moviemaker?? He's definately the guy to get for a "10 Minute HD Film School" chat.

Murph

I'll pitch the idea to my editor. Good one, too.

heath

Cool...and just another quick thought, but maybe you can pitch a "Contest" to Moviemaker for a 3 minute "HD Short Film" or anything HD that's 3 minutes or less? The next generation low-budget filmmaker using the latest tools available. Any HDV or HD camera can be used...any type of genre piece you want to make. (no NTSC DV cameras allowed, this is HD and HDV only - our new community!)

It would be cool to have our online DVinfo community be judges. I'd definately do a 3 minute piece for it...we can all whip something up, I'm sure!

The winner gets mentioned in Moviemaker with a Heath McKnight interview? Also, maybe a Robert Rodriguez "10 Minute HD Film School" interview woven in there somehow? I doubt he has time to get involved in a contest, but that would be nice too.

Just a thought!

Murph

I don't think they do contests, sorry. Computer Videomaker and others do, however.

heath

Rodriguez doesn't live "in" Austin. He lives in a suburb of Austin.

Go to http://www.hdargentina.com/
They are in Buenos Aires.They have worked in Mexico, Paraguay, Uruguay, Peru, Chile, España.They give you a complete package from camera to NLE, color timing,etc.After this you could transfer your film at Cinecolor Brasil.They work sometimes with them.
They use HDCAM.

les dit
 

les dit,

can you tell me if its possible to do a 30p HD10U Footage conversion to 35mm with the CELCO firestorm film print?

http://www.celco.com/Firestorm.asp

or only with the Arrilaser?


can you tell me your email adress?


ciao

Re: les dit
 

All film recorders can only do one thing: Put an image on the film. It's up to the preparation process to determine how many frames per second gets translated. ( 30 --> 24 , etc )

I can be mailed at lesdit
at gmail point com
-Les


<<<-- Originally posted by Daniel Moloko : les dit,

can you tell me if its possible to do a 30p HD10U Footage conversion to 35mm with the CELCO firestorm film print?

http://www.celco.com/Firestorm.asp

or only with the Arrilaser?


can you tell me your email adress?


ciao -->>>

If possible, can we keep this on the boards to help educate others?

Thanks,

heath

rendered timeline at 720p60
 

Wouldn't it be simple to render at 720p60 and then convert to 35mm. From what I understand 60 fps blows up to 35 mm beautifully. I have HD footage at 720p60 that looks beautiful. Maybe I'm off base here...but I have been experimenting for these exact reasons(worry over blow up) as we have a feature we want to film starting in october and we have the same fears. We own the 16mm Arriflex BL and are trying to decide now what to film on.

Re: rendered timeline at 720p60
 

That gets you the same place as I did, equivalent to a frame blend of 30P.
If your source is 30 images a second, making 60 or 200 FPS out of it and then going back to 24 for film is the same.

I think it looks pretty good. See the example I posted somewhere in an earlier post, of 30 to 24 .
-Les



<<<-- Originally posted by Morgan Preston : Wouldn't it be simple to render at 720p60 and then convert to 35mm. From what I understand 60 fps blows up to 35 mm beautifully. I have HD footage at 720p60 that looks beautiful. Maybe I'm off base here...but I have been experimenting for these exact reasons(worry over blow up) as we have a feature we want to film starting in october and we have the same fears. We own the 16mm Arriflex BL and are trying to decide now what to film on. -->>>

We also have to remember as good as Les's demo clip is, there are dedicated software packages (Algolith and Twixtor) that claim to far exceed the stock After Effects conversion. As Les also points out, you can achieve even better results when you aren't shooting hand held. How the shot is composed, with camera movement taken into consideration will greatly impact the final product.
Shooting in 60p mode for intense action scenes might be recommended. Up res and incorporate back into the 24p project.
The potential of what this cam can do is still to be seen.

Shelf Life
 

I've noticed that Costco is really pushing HDTV sets now, too. They don't continue to carry anything unless it's really selling well.

I'm preparing to shoot a narrative doc. Although there's a tiny chance that it might get a theatrical release, it's statistically highly unlikely. Docs have a pretty good shelf life if they're informational and the topic is a perennial one.

The nature of business is that it takes five to ten years to reach profitability, and that's if it's the one in ten that succeeds. I think of my doc as if it's a mini business. Which means that maybe, with constant guerilla marketing, I might turn a profit on it in five years. It seems that HD will be fairly ubiquitous by then.

The foregoing logic leads me to the conclusion that it's best to shoot HD, even if all I can afford is the HD10. If my film (my first feature length production) is so good that someone wants to do a theatrical run, then someone else would probably consider me a good enough investment to properly fund my second feature, which I would shoot on 35 with ends, etc. Essentially, this doc would thus be serving as my grad thesis film, a portfolio piece. Rarely do those get a theatrical run. But they do launch plenty of careers.

I'm open to having my math blasted to pieces, though.