Jvc Gy Hd-250 Direct-to-camera And Mini35 Clips
 

Here's another clip, this time shot for Perth band "ANTISTATIC" on the JVC GYHD250 with P+S Technik Mini35, here of course in our wonderful state of WA, (Western Australia, not to be confused with WA Washington US.)

Framerate was apparently 60P and the audio track played back on set faster to obtain correct duration of the clip.

Prime lenses used were Sigma for Nikon f2.8 14mm and Sigma for Nikon f1.8 20mm. The vertical flares I think were added in post as I don't recall seeing them on the split.

None were geared, however running the radio follow focus drive gear onto the lens focus ring wrapped in a big red elastic band worked.

Steve Rice, who owns the Mini35 has since bought in a geared 14mm f2.8 Nikon 14mm and geared the other Nikon primes in the set.

All too high a science for me but effective. DoP was Jim Frater who owns the JVC HD250 and the steadycam rig.

Here's the link. http://www.youtube.com/watch?v=BT-n6noho7k


Here's links to the behind the scens of this clip, - not my work.

http://www.youtube.com/watch?v=h-R0G5-wbDY

http://www.youtube.com/watch?v=wXNw_GbLCe8


Also here's a link to someone's behind the scenes footage of CLAIRE CLARKE'S "BLUR" clip - not mine.

At 00:47-48, you'll see what is possibly myself (with gaffa rolls on each sleeve) and Steve Rice troubleshooting the camera carousel with a rubbing piece made of craftwood. DoP was Jim Frater and the JVC HD 250 is his.

The carousel looks a bit like a chicken cooker rotor on steriods but it still was a bit light for the job and needed strengthening to stop the camera from rocking.

http://www.youtube.com/watch?v=sPfO8nGTneU


The clip itself is here.

http://www.youtube.com/watch?v=KeGvCnaLk5k

Thanks for sharing those Bob.
Such a large, professional team and set of equipment...makes me feel a little inadequate with my one man band!

Cheers.

I really like the choreography of your camera movement.
Is all the light smearing by disign? I typically would not expose so that the CCD's smear but in your video it looks interesting.

Steven.

I am not the originator or director on these projects. I went along as an asssitant to Steve Rice and shot of a bit shadow footage on my cam and one of theirs at the Antistatic shoot at the backpacker's hotel corridor.

Whether any of it was mine or one of the others I don't know. Things were pretty busy and a number of people were seconded to the handycam when they were standing around.

The director is a sort of West Australian flavour of wunderkind. He and his core crew around him come up with some good ideas and the shoots are a fine place to learn. The outdoors shoot at Joondalup was huge. There are only music videos but I would like to see that they could do with a feature.

The vertical smears I think were added. I don't recall seeing them on the vieo split. Groundglass based imaging tends not to smear vertically on pinpoints, but flare in all directions. The wall lamps themselves were added and not part of the corridor which was lit by overhead flouros in the high ceiling.

There were cords gaffered into the corners of the wooden dadoes and doorframes and the tape painted over. I actually cursed those lights because they were not well made and kept falling apart. It fell to my lot to fix them against the clock ticking.

My guess is that some pf the cabling might have been visible and the smears added to cover it. As an artistic effect, quite cool I thought.

There is a little network of keen independents who help out on each other's projects with spare hands and equipment loans here outside of the mainstream. It is the relatively low-cost modern cameras which have helped make this activity possible over here.

The initial take-up seemed to have been Sony Z1/FX1 and Canon but the JVC HD100 family is making a significant appearance. Steve's Mini35 is the onyl one here but there may be others soon. Jim is thinking of the compact for his JVC HD250.

I'm off this morning to look over the shoulder of a a TVC being shot in Freo this morning, only learned about it yesterday so with consent of the producers I will see if I can post something on that.

I went to the TVC shoot at Fremantle today at FTI, two restaurants and what has become a "town" Univerisity precinct, streetscapes of heritage buildings which have been conserved and are now places of learning.

One of Western Australia's respected DoPs, was at the helm on the JVC/Mini35.

Between periods of doing things, I was not able to get any shadow footage worth posting. Looking over shoulders was good for the personal knowledge base, learning from people who know well how to get the most out of the new generation of equipment.

The director and DoP did some wonderful optical things with lighting, backlighting, background choices, a Nikon 105mm f1.8 lens, Mini35 and a large wineglass as a slowly rotating diffuser, in edge of frame and about 6" from the camera.

Be assured, if I learn of this project being posted for viewing anywhere you will know of it here soon after.

How on earth does that work then!?!

Cheers Bob - sounds like you've had a fruitful day....I went out to shoot for another job and yet again I've been washed out by this continuous rain :(
Be sure to post any footage of this project also.

Wine glass?. The director held it just by the stem and moved the barrel of the glass around the side of the frame whilst watching the camera LCD.

The camera operator concentrated on maintaining the composition of the shot on the subject, extreme close-up of girl drinking coffee in cafe.

This has the effect of softening the image and making it move about a little, then snap back into position, sharp.

Outdoors with the running girl, they used a dingle (sprig of gum leaves) for a dappled effect with a lens wide-open or just simply a sprig of leaves to be in the foreground for composition, not sure which in this case.

With the glass you get short moments of something special which cut well into a 30sec TV spot.

Interesting...cheers Bob. I may give that a go myself - always good to hear of these little tricks performed on camera's (and which don't cost the earth!).
Thanks.

my first finished hd110e project:

Type: Cinema Advertisement / Web Advertisement
Director: Juliana Neuhuber
DP: Thomas Weilguny
Thread: http://www.dvinfo.net/conf/showthread.php?t=99534
Format: DivX
Size: Approximately 20mb, divx plugin required
Direct Media link: http://stage6.divx.com/user/Hasus/vi...ll-2007---Spot


this is a spot i shot two weeks ago, it will be shown in cinemas next week - filmed with the redrock m2 adapter and nikkor slr lenses.

I must apologize that I haven't been able to keep up with all the new finished project submissions on the #1 post on this thread.

Is there anyone who would like to help out in this regard?
Someone who has some time on their hands to sift through this whole thread (as well as the other self-contained threads) and simply compile one post with the pertinent information as Thomas has kindly formatted his in the previous post.

Thanks in advance.

Here is a thread with some links to footage I shot within the last year on my HD100. It's a great camera...we've had a lot of fun getting to know eachother.

http://www.dvinfo.net/conf/showthread.php?t=100840

Preliminary version of JVC GY HD100-MINI35 DEMO
 

Here's a link to a preliminary version of a clip shot to demo the JVC GY HD100 and P+S Technik MINI35 at recent local product demonstrations at FTI Fremantle and Curtin University.

http://www.youtube.com/watch?v=aabJj2EED38

The clip was retrieved from a DVD-Video disk and recoded to mp4 for upload so should not be held as representative of the final version which includes the guitar player and close-ups of fingerwork on the fretboard.

I shot shadow of this project on a Sony Z! and home-made AGUS35 and posted that footage at YouTube under the title of "AGUS35 films MINI35".

Very nice, Bob
Ron

"Conviction" - CineVera Pictures' latest short film
 

Check out our latest project: "Conviction." Shot in 12 hours at an abandoned warehouse in downtown Grand Rapids, Michigan. Shot on the JVC HD100 with the Brevis 35mm.

http://www.cineverapictures.com/clips/conviction.html

Feature Film "Scourge" Shot in HD with JVC ProHD GY-HD250
 

Not my project, but just saw this article on DV.com:
http://www.dv.com/news/news_item.php...leId=196603457

Feature Film "Scourge" Shot in HD with JVC ProHD GY-HD250

PHD Productions records HD-SDI output to Wafian HR-1 HD video recorder


Wayne, N.J. (Sept. 27, 2007) -- Director, Jonas Quastel and DP, Corey Robson of PHD Productions chose JVC's lightweight GY-HD250 to shoot horror film, Scourge because of the cameras ergonomics, 60p capability and HD-SDI output compatibility with Wafian’s direct-to-disk HD video recorder.

Using technology from the present and past, which initially set the stage to shoot horror film Scourge, PHD Productions achieved a 35mm depth of field look with the combination of the GY-HD250, manual focus Nikon lenses and Redrock Micro M2 lens adapter.

Robson, who has filmed extensively with his GY-HD100, is very familiar with JVC’s camera and knew that the GY-HD250 was the right choice to shoot Scourge because most of the film was shot hand-held.

Questel also favored the GY-HD250 because of its ability to flip the image on the fly and output 4:2:2 HD-SDI into Wafian’s HR-1. “We used the Wafian to preserve the best master image quality -- possible as well as bypass HD decks and tapes,” commented Questel. The camera performed flawlessly. I always had a clear signal to the monitor. There was no down time when it came to JVC’s camera.”

According to Robson, the camera’s compatibility with the HR-1’s 24fps reverse pull down convinced him that this workflow would be the most cost-effective and efficient way to maintain the GY-HD250’s image quality from set to post. “The on-set workflow was simple and worked incredibly well. We connected our sound into the camera’s XLRs where the audio became embedded into the HD-SDI stream, along with the camera-generated timecode and image. The HD-SDI cable from the camera fed the Wafian back at the director’s monitor. This ensured that we had audio on both our HDV backups and on the HR-1, which avoided double-system post expenses,” added Robson.

Quastel says the GY-HD250 captured beautiful highlight detail during the mostly white hockey rink sequences in the film. “Humidity and cold were never an issue for the camera. We shot a majority of the film at night – complete with rain showers and very tight schedules, making things less than ideal for treating a camera gently. The camera was thrown around a lot,” said Quastel.

Robson praises the camera’s versatility and custom menu functions. “I think a very often over-looked consideration when choosing a camera is ergonomics. And this was a big deal to me working on Scourge. With regard to image setup, the GY-HD250 has completely adjustable matrix, shading, and gamma options. In-camera “looks” are easily dialed in. The adjustable focus-assist feature came in handy especially for insert work and the camera’s true 1280 x 720 imagers were another reason to go with the HD250. No scaling and cross-sampling pixels with the JVC cameras.”

Robson also commented on the camera’s battery life, “The built-in Anton-Bauer gold mount was another great feature of JVC’s camera. With a power tap and a Dionic 90, we were often running an on-camera Panel-Lite, Bartec unit, and additional 7” monitor all at once.”

We just delivered a feature documentary to PBS shot on our HD250's with Fujinon 13X lens. John Paul II: A Saint For Our Times was shot in Italy, Poland and the US. This will be a 60 minute national pledge special and will be picked up by many markets across the US. It focuses on the themes of JPII's life as a hero of non-violence and human rights.

Shot in 720p30 on tape and HD-DR100's, edited entirely in native HDV on FCPro 6. Downconverted to SD via 10-bit uncompressed and mastered to Digital Beta. Should start airing in Dec 07 on local PBS stations.

We were very happy with the performance of the ProHD gear overall. Problems persist with dead pixels popping up, and still many issues with the BR-HD50 decks.

Dave Beaty

Looks great!

What settings did you use?

PS - our company is located in Ypsi....

john
evilgeniusentertainment.com

New showreel!
 

I thought i'd put together an updated showreel together for use of my HD110e

Sorry about the youtube-ness but i can't host anywhere good enough at the moment.

http://www.youtube.com/watch?v=l2nD-KwhjW4

any comments would be much appreciated!!

Looks fantastic Neil. Some great footage and editing techniques (particularly enjoyed the footballer 'cutout') - shows a diverse range of projects you've been involved in too...plus I recognise many of the locations!

All HD1** stock lens?
Good work.

Xan, A Despedida (2007)
 

Type: Short Film
Director / DP: José L. Martínez Díaz
Production Company: Contacontos P.C. S.L.
Link: www.xanadespedida.com www.xanadespedida.blogspot.com www.myspace.com/xanadespedida

Camera: HD100E / Stock Fujinon Lens

Cheers,

Jose

The independent project "The Crimson Cage" referred to in my post of awhile back has now become "Death Bet". A new trailer can be found at this web address.

It was shot on the JVC GY-HD100 with the standard Fujinon lens.

http://www.youtube.com/watch?v=OMflCs57tMA

Our doc aired live this weekend 10/19 on WLIW in NYC, the PBS affiliate, as a pledge drive program.

Here is a link to a wmv of the open of the program. Low bandwidth 15fps.
http://www.dreamtimeentertainment.com/media/jpii.html

Looks fantastic Dave - despite one or two issues with this camera/support it can produce lovely footage can't it?

Was the titling done on FCP also?

Local bank spot
 

HD100 with my own scene file setup, a couple of 1200PARS, a 575, and a dolly setup. wmv does not do it justice....

http://practicali.com/mov/IntegrityV4-2.wmv

Aussie Feature Release
 

http://www.uemedia.net/CPC/cinematog...le_16628.shtml

Purgatory In HD

By Neal Romanek

Nov 14, 2007, 00:08


Director Shane Abbess shot Gabriel, a gothic action drama, entirely with JVC's GY HD100 Series ProHD cameras. The independent film has been transferred to 35mm for cinematic release worldwide on November 15th.

Gabriel has been described as the best independent feature film to come out of Australia since Mad Max. The gothic action drama tells a story of the battle between good and evil set in Purgatory. The film stars Andy Whitfield (movie debut), Dwaine Stevenson (Small Claims, The Nothing Man) and Samantha Noble (See No Evil, Court of Lonely Royals).

Abbess and his writing partner, Matt Hylton Todd produced over 20 short films, music videos and TVCs together. With Abbess' extensive experience, he already knew many of the tricks needed to employ in order to shoot a great idea in a unique way. Abbess enlisted the producing skills of Anna Cridland and Kristy Vernon who pulled together the team of talented people to make the movie.

"I went out and tested every 3CCD camera on the market to get a real idea of what we could expect from a progressive movie look. When I say we tested every camera on the market, I mean every one," Abbess explained. "None could do what we wanted until I went to the Digital Media Festival and saw the JVC's GY HD100 Series which was, quite literally, a revelation. Unlike all the other camcorders you could pull focus, set focal points, change lenses, it was excellent in low light and shot in true progressive. At that point, we also saw the tests of Endurance Island (Reality Check) and were hooked. It was a no-brainer. JVC's camera was, without a doubt, the best HD camera on the market in its range."

Abbess put the camera through the most intense testing. "I knew this camera was going to change the film industry due to its progressive shooting, calibrated lens and amazing size-to-quality ratio. I also did not have the budget to buy a PNS adaptor and had to make do with a wide angled lens. The first time we did a 35mm blow up there were a lot of people wondering if JVC's camera was too good to be true until they saw the results. It was stunning. Everyone was amazed. We knew we could take Gabriel into cinemas," said Abbess.

With the input of the producers, Abbess and DOP, Peter Holland set about making sure that all 26 locations were able to be low-lit correctly. Holland and his crew took the next five weeks to create controlled lighting situations allowing the 'movie look to work'.

Abbess continued, "That first shot was magical. It just worked. The camera was brilliant. It looked great. It looked cinematic. We did lots of long lens, dirty frame, hand-held shots. With the GY HD100 Series being so compact, we could get it into places that other cameras couldn't go."

According to Holland, "We made subjective rigs for the camera including one where we bolted it onto a knife. The size and weight allowed us to do things we simply could not have done with other cameras. This wasn't traditional shooting. There were lots of hand-held and steadicam shots and the operators were delighted with JVC's camera. We were able to avoid the jerky DV look and motion because the camera can be shoulder mounted making it as smooth in every situation. It's a really flexible camera. After three weeks, we decided to buy another camera. JVC was incredibly helpful in making this happen. Their service and support throughout the entire shoot was brilliant."

With the shooting completed, editor Adrian Rostirolla used Final Cut Pro and completed the cut in six months. Abbess and Post Production Producer, Matt Graham, tackled the challenge of 800 FX shots, big sounding music score and a complex sound design.

At this point, Screen Corporation showed the movie to Sony PicturesT. "Soon I was flying to LA to sign the deal with Sony® and the rest is history," said Abbess. "I can honestly say that Gabriel has been the most challenging project of my career and if it wasn't for the help of people like Noel Oakes (from JVC Professional Australia/NZ) and the excellence of the GY HD100 Series the movie would not have been made."

JVC National Sales & Marketing Manager, Noel Oakes said, "JVC is delighted that our camera played such a pivotal role in the making of such a great movie. Gabriel is the first feature film shot entirely with the GY HD100 Series that has been signed for worldwide release, which speaks volumes for the quality of these cameras."

A gothic action drama starring Andy Whitfield (movie debut), Dwaine Stevenson (Small Claims, The Nothing Man) and Samantha Noble (See No Evil, Court of Lonely Royals) Gabriel tells a story of the battle between good and evil set in Purgatory.

JVC Professional Products Company, located in Wayne, New Jersey, is a leading manufacturer and distributor of a complete line of broadcast and professional equipment.

Looks great steve - really looks like film!

....Mind sharing that scene file?

john

evilgeniusentertainment.com

Hi there, i don't know if this qualifies as a double post but its relavent here as well since i shot it all on the HD100 HDV25p, it's also an example of day for night (done in post).

I suggest downloading the big file as the livedigital compression has made it a bit too dark and you can't get it full screen.

http://www.dvinfo.net/conf/showthrea...436#post778436

cheers
Andy.

well its a lot more then the scene file which is based on one of the TC setups which I've then changed a bit. color was used for the grading on this with some invisible and not so invisible tweaks, but overall it simply came down to controlled light & contrast ratios, and getting the right WB setting. I might of also of had a 1/4 black promist on, don't recall exactly except for playing with filters at the start of the day.

Bajao The last sea nomads trailer presentation
 

This is a trailer/presentation of the 5th episode of our show the end of the trail-treasures of the south seas. I compressed it in MPEG4. It looks OK I think.
This is the link:
http://www.box.net/index.php?rm=box_...id=f_112057263

It is a fresh fruit, just finished.

bad link
 

says "no permission to download file".

Box net
 

seems like I can only send the link privately. Sorry about that I will try to upload it to a different server. If you want to see it e-mail me here: yantra@dos.centrin.net.id so I dend it to you and it will work.
Panos

link updated
 

http://www.box.net/shared/static/rds2z6udfg.mp4

Try now, I hope this works

About the end of the trail
 

The link works now.
So, a few words about what you are going to see.
We shot with the 101E 25p HDV with Paolo's TC3 settings and the 13X wide fujinon lens.
This episode, from which we made the brief presentation, is shot in the Banda see, on the east of Sulawesi-Celebes island. It is about the see nomads the Bajao.
We were shooting really *in* the water, as we also lived in hats that are built on the water a mile or so from shore.
It was an amazing experience. We stayed 2 weeks there, charging our batteries with solar panels, but eating lobsters everyday!!
We shot 25 tapes and we had not one glitch not one dropped frame.
The camera performed incredibly well.
We had only some problems with the back focus, I think because of the extreme heat from 12-3 o clock. We used a Miller DS50 and a cinekinetic bag for the boats etc.
Run and gun 12 hours every day.
Panos

"Tears In The Rain"
 

A short feature, "Tears In The Rain", being shot in Perth, Western Australia, wrapped this afternoon with the last footage shot at the old Swan Brewery precinct. Much of the project has already been assembled and loop work done.

It was shot on a JVC GY-HD100 and P+S Techink Mini35-400 with Nikon lenses.

The lens list used :-

Nikon 14mm f2.8 prime.
Nikon 12mm -24mm f4 zoom.
Nikon 28mm f1.4 prime.
Nikon 35mm f2.8 prime.
Nikon 50mm f1.4 prime.
Nikon 85mm f1.8 prime.
Nikon 105mm f1.8 prime.
Auto-Tamron Adaptamatic 135mm f2.8 prime.
Auto-Tamron Adaptamatic 80mm - 250mm f3.5 zoom.
Nikon 500mm f8 mirror telephoto prime.

The final assembly and edit is already under way as I scribe this message. I am not the editor and only peripherally involved as a handyman ( you know - please hand me that lens ) It has been an enjoyable gig.

The myspace site for the project is at this address :-

http://www.myspace.com/tearsintherainthemovie

FOONOTE FOR PANOS.

Have you seen the documentary "Below the wind" about the same people. Did you by any remote chance get to visit Buton Island, SE of Sulawesi, the SAO project and maybe Adin Duncan. I was not myself involved with "Below the wind".

Buton
 

Yes, I have visited Buton island many times. I don't know this project. Have you any links to it?
Buton is really nice and has a fantastic forest with very rare animals.

Panos.

Here is a link to the SAO Buton Project.

http://members.westnet.com.au/duncan...n/SAOButon.htm

Here is a link to the producers of "Below The Wind" which was released in 1994. I think they may have shot it on film but I am not sure.

http://www.electricpictures.com.au/

Once you on the Electric Pictures website, click on "credits" second down the list on left of the screen and you will find it near the bottom of the page when you scroll down.

If you are looking for a copy, ABC is Australia's non-commercial TV broadcaster the Australian Broadcasting Corporation. It used to be the Australian Broadcasting Commission. Ronin Films I think works out of Sydney and is a distributor.

Due to great concerns over quarantine and exotic diseases, most Indonesian fishing boats caught poaching close-in inside Australian fishing zones are brought ashore and burned. One tiny boat "Sama Biasa" was saved from this fate and now survives well beyond its original use-by life expectancy in the Fremantle Maritime Museum and is a tribute to the courage and endurance of these traditional seafarers who ventured "below the wind" into what became prohibited areas for them.

There was some sort of accord whereby traditional fishermen in traditional boats without modern aids such as motors or sat nav, were to be permitted to fish in areas they had traditionally harvested within the Australian offshore waters. However, desperate and greedy people have abused this concession with non-sustainable fishing practices like shark finning and use of "ice boats".

This abuse has extended to onshore excursions to the Australian mainland and poaching from traditional grounds of Australian aboriginal people. A visit was made some time back by traditional Australians to Roti and there was some general sympathy for the desperate situation of many of the people there. However with the passage of time and mainland poaching, I doubt much sympathy remains.

It is like this Bob, well said
 

Many stories have been told from the bajao about the illegal fishing. The boats are burned down, thats why they don't get in with their *bigger* boats, they drag smaller ones all the way to Mako island and Kupang.
Thanks for the links, I will try to get a copy of the movie.
All the best to you.
Paos

Tears In The Rain.
 

Some recent behinds the scenes footage of this project can be found here :-

http://www.youtube.com/watch?v=1KZayueFxcQ

The behind the scenes cam was not a JVC, The production cam was.

Commercial Shot on JVC GY-HD100/MINI35-400.
 

Here is a link to a commercial shot on the JVC GY-HD100/MINI35 combination.

The limo interiors were by Nikon 14mm f2.8, maybe Nikon 12mm-24mm zoom (my memory is a bit vague here) and Peleng f3.5 8mm fisheye. Some limo interiors were live, the others greenscreened, as were the onstage images which were studio shot.

http://www.youtube.com/watch?v=yoT_Q-7bM6o

"Tears In The Rain"
 

Since "Tears In The Rain" wrapped and was assembled, it looked so good that the crew was persuaded to make it into a feature.


"Tears" now has its own website which can be found at this address :-

http://www.tearsintherain-movie.com/


Origination is on the JVC GY-HD100/P+S TECHNIK MINI35.