|
|||||||||
|
Thread Tools | Search this Thread |
August 20th, 2006, 08:49 AM | #1 |
Tourist
Join Date: Nov 2005
Location: Orlando, FL
Posts: 3
|
Movies made with HD100??
Hello,
Are there any films that have been made with the HD100 that I could rent at a local video store? I know these cameras have not been out a long time but I would be interested to know what is out there that has sold or has a chance of being sold in the way of a feature length film. This is a question I will be asked when we talk about using the HD 100 for a project coming up so I would like to know what might be available. Thanks, Scott |
August 20th, 2006, 11:56 AM | #2 |
Major Player
Join Date: Apr 2005
Posts: 512
|
The kind of project that would be available in your local video store wouldn't be using an HD100, unless video stores started stocking low-budget indie films all of a sudden.
|
August 20th, 2006, 12:05 PM | #3 | |
Trustee
Join Date: Jun 2006
Location: Burbank
Posts: 1,811
|
Quote:
I was told a local (L.A.-Burbank) person took an HD100 to Africa and the video was transferred to film. There have been (private?) screening and the result is supposed to be outstanding. But I did not see it and don't have details. I would also be interested in reading technical production details on independent films that are released. However, I don't know if there is a source for this (what camera? Lighting Equipment? shooting days? crew? budget? Unions? etc.) |
|
August 20th, 2006, 12:08 PM | #4 |
Wrangler
Join Date: Oct 2002
Location: Los Angeles, CA
Posts: 2,100
|
Sounds like you're talking about Andrew Young, who had one of the very first HD100s and took it on a National Geographic doc to Madagascar. Do a search in this forum, lots has been written about it, most by Andrew himself.
__________________
My Work: nateweaver.net |
August 20th, 2006, 12:40 PM | #5 | |
Wrangler
Join Date: Aug 2005
Location: Toronto, ON, Canada
Posts: 3,637
|
Quote:
I'm not sure what video store you rent from, but even my local Blockbuster carries many films on DVD that would probably be considered "low budget" and were shot with digital video cameras. "November" and "28 Days Later" come to mind immediately, which were shot on DV with the DVX100 and XL1, respectively. You can perform a search on the imdb for films shot with the DVX100, XL1, XL2, HVX200, and of course JVC's HD100. I myself have shot two feature films with the the HD100. One was very low-budget and the other was moderately low budget at just under $1mil. Both are still in post-production and are independently produced, so I can't tell you when or how they will be distributed until the distribution deals are made. I can assure you that both will be released on DVD at some point. I can talk about one of them, the film "Bull", but I am still covered under NDA for the other.
__________________
Tim Dashwood |
|
August 20th, 2006, 01:11 PM | #6 | |
Trustee
Join Date: Jun 2006
Location: Burbank
Posts: 1,811
|
Quote:
1. Did you use a focus controller on the shoots? If so, which one and how did it work? 2. What lens/lenses did you use on the HD100? 3. Did you use the standard lens? 4. Did you use a wide-angle converter/or adapter on the standard lens? If so, which one/ones? 5. For typical shooting of scenes, both indoor and outdoor, did you find it necessary to go wider than the standard lens offers? If wider is necessary, how much wider (from your experience on these two features, understanding the director's style affects this) -- .8x, .7x, .5x? 6. What was the standard camera setup and what were the indispensible accessories on the HD HD100 for "typical shooting." 7. Did you record to tape, a harddrive, or both? 8. Did you use DVRack? 9. What filters were indispensible. Did you use a softening filter for close-ups... and if so which one/ones. 10. What scene file did you use? 11. How many were in the camera crew and what were their jobs? 12. What support/crane/jib/rail options did you use with the camera and which were outstanding and which were only adequate? Thank you for any insight and info you can give! |
|
August 20th, 2006, 01:45 PM | #7 | |
Major Player
Join Date: Apr 2005
Posts: 512
|
Quote:
|
|
August 20th, 2006, 02:04 PM | #8 |
Major Player
Join Date: Nov 2005
Location: Crestline, California
Posts: 351
|
Low budget features...
There is currently a low-budget feature shot with a PD-150 playing on HBO or Showtime, it's called Open Waters or something like -- a shark movie. It did well in the theaters too.
The director of the Wishmaster series of features is making a movie with star Andrew Divoff using the HD100. This is probably over a million dollar budget I would think. We shot a T&A sci-fi spoof feature (that did quite well) with my standard definition JVC D-9 camera. We rented an expensive wide angle broadcast lens to make the space ship set seem more expansive. It got domestic and foreign distrubution, the domestic advance from Zenon put it in the black, Vision Films just sold it to the British version of the Sci Fi channel. And it was 486x720 4:3 60i but 4:2:2. I've started shooting my next feature "Prank Club" using the HD100, watch for it at your local video store, but don't hold your breath, it's hard to make a movie with a full-time job. I'll try to post a framegrab. Tip |
August 20th, 2006, 02:08 PM | #9 | |
Tourist
Join Date: Nov 2005
Location: Orlando, FL
Posts: 3
|
Straight to video
Quote:
Not sure if you have a Hollywood video where you live but I assure you they have some movies made with some inexpensive cameras. I have friends that have worked on very low budget films that went straight to video. |
|
August 20th, 2006, 02:12 PM | #10 |
Trustee
Join Date: Jun 2006
Location: Burbank
Posts: 1,811
|
One more question(s) for Tim:
What is the final screen ratio of the two features you have recently shot with the HD100. If it is wider than 16:9, what techniques do you use for framing while shooting? At what point in the process is the footage adapted to the wider format? Thanks! |
August 20th, 2006, 03:50 PM | #11 | ||||||||||
Wrangler
Join Date: Aug 2005
Location: Toronto, ON, Canada
Posts: 3,637
|
Quote:
Quote:
As well, on one day shooting long lens street scenes in large crowds we used a second camera with the 16x5.5. However, we limited the focal length to around 45mm to 60mm to avoid vignetting. Quote:
I couldn't imagine shooting this film without the ability to widen out to 3.5mm. Quote:
Internally we always shot 720P24, 1/48th shutter, preset WB, 0dB gain. The indespensible accessory for me was the matte box. Quote:
Unfortunately, I didn't get a Firestore DR-HD100 in time, or I would have used it. However, we had no problems with dropouts. Quote:
Quote:
Master Black -2, Detail -7, V FREQ LOW, BLACK STRETCH 2, KNEE 85%, MOTION SMOOTH OFF, STANDARD COLOR MATRIX, CINELIKE GAMMA LEVEL -3, R GAIN -2, R ROT -1, G GAIN 1, G ROT -1, B GAIN NORM, B ROT 2. One night I was shooting in a park that had high-pressure sodium lamps. I made the following adjustments to counteract the yellowish spill on skin tones when mixed with my 3200K balanced Image-80s. R GAIN 1, R ROT, 2, G GAIN 1, G ROT -3. Quote:
Quote:
I requested a PeeWee dolly but budget limitations forced us to downgrade to a Cameleon. It was an acceptable comprimise, but it couldn't crab and didn't handle tight curve track very well. We used speed wheels on Filmair track most of the time. Quote:
To maintain this aspect ration we taped thin paper tape to the LCD monitor (allowing us to still protect for 4x3 and scan for boom mics, etc.) I also taped two of my own hairs to small LCD inside the viewfinder to approximate the 2.35:1 area. I'll ask if I can post some frame grabs.
__________________
Tim Dashwood |
||||||||||
August 20th, 2006, 04:09 PM | #12 |
Trustee
Join Date: Jun 2006
Location: Burbank
Posts: 1,811
|
Tim,
Thank you very much for your answers! These details are very much appreciated. |
August 21st, 2006, 01:40 PM | #13 | |
Trustee
Join Date: Sep 2005
Posts: 1,065
|
Quote:
Bravo Tim! Thanks for sharing. Is there anything you would have done differently under the exact same circumstances (ie - budget, time, crew)? john evilgeniusentertainment.com |
|
August 21st, 2006, 02:39 PM | #14 |
Trustee
Join Date: Apr 2005
Posts: 1,269
|
Great info Tim.
On a side note, if I had a budget of around a million, I think I would be tempted to at least shoot Varicam, maybe even Cinealta. Although HDCAM post is still costy, but DVCPRO-HD post is as easy as HDV those days. But depending on the film genre, 1 million should be enough for HDCAM, specially for a non union shot. Heck, 1 million is enough for 35mm too. But as I said, I don't know the specifics of the project. |
August 21st, 2006, 03:24 PM | #15 | ||
Wrangler
Join Date: Aug 2005
Location: Toronto, ON, Canada
Posts: 3,637
|
Quote:
Our actual below-the-line cash budget was more like $75,000 + deferrals. This includes all post-production finishing to a 35mm answer print, so 24P on HDV tape was really the only way we could have pulled it in under budget, especially since we didn't have to rent the HD100 or 13x3.5 wide lens. The format is cinema verité (or at least the illusion of verité,) 90% handheld, mostly available lighting, a very very small crew and a "fluid" script. (Think Christopher Guest.) Quote:
Unfortunately, my prep time on "Bull" was very short, so I had to keep those items on the truck "just incase" I was thrown a curveball on the day. The schedule for the last two weeks was still being tweaked when we started and I didn't want to be caught off-guard. If I had had more time in prep I would have planned the rentals out better. Fortunately, William F Whites gave us an amazing flat deal on the grip & lighting package so I shouldn't complain. As for time, I think 20 days is about right for a low-budget feature. It seems to be just enough time to get your pages, but there isn't much wiggle room for pickups. I highly recommend 5 days on, 2 days off though. You need 1 day to decompress and then the other to plan the next week, meet with the production designer, director, PM, etc. I had a great crew, even though most were young and only had limited experience I hired keys that I could trust. My gaffer found some great guys who had recently graduated from Toronto Film School who could swing grip in a pinch. We had a great vibe on-set, and I think everyone learned a new tidbit of info each day. The crew worked for a small per diem plus deferral.
__________________
Tim Dashwood |
||
| ||||||
|
Thread Tools | Search this Thread |
|