Assorted posts from 2002Q4
 

Ok all you masters of the trade... Explain something to this rookie.

I went to a conference/concert this weekend, with an attendance of about 10,000. They had a multi-camera setup with the giant projection monitors so we could see. The most interesting of which was a 25' boom camera which I paid more attention to than most of the speakers and artists.

My question arises from the fact that the lens that they used seemed to put distance between the camera and the subject that didn't exist. The camera would be 5 feet from the subject and seemed to be 20 feet away. The other thing was an incredibly deep depth of field. He would swing in from max extension to close up and never went out of focus.

What kind of lens would this be? Would the depth of field really be that much or was the operator likely just focusing on the fly.

I don't think there is any magic going on...it sounds like they were merely using a wide angle lens...which would cause both the perception of increased camera to subject distance, as well as almost unlimited depth of field.

Barry

Low Light Shooting
 

In less than a week and a half, my crew and I will be shooting a CD release party. The club is very small and dark. My biggest concern is working with the available lighting and still producing a quality image.

Are there any tips, tricks, ideas that I should be thinking about with this up coming gig?

The only real tip or trick is get the club to pump as much light in there as possible. This will still only give you a general fill of light to work with for wide shots, and in the background of other shots. Otherwise all these shots will be too dark or your gain will create a hell of a lot of picture noise. You will also need some kind of camera light or portable light for your foreground images, interview subjects etc.

Anyone have focus pulling issues with their DV cams?
 

I was reading something recently that sparked me to ask this question. With most of the lenses on DV cameras, the focus mechanism is a servo one and usually not as responsive as a real manual lense. I was wondering if anyone with a cam like Gl2, Xl1, VX2000 etc that's made dramatic films ever had an issue with pulling focus during a shot? Does it really affect what you are going to shoot or do you not bother. I know that with DV cams the depth of field is greater to focus issues aren't like they are with film but I'm just interested to know, not having a cam yet myself.

Cheers
Aaron

A mystery within a post
 

I got this reply to my post...I'm not sure what he means when he says "I try to shoot so i do not clip much..."

I prefere to do it in post, which requires me to shoot with this in mind. This means that the exposed image shown on the monitor when shooting doesn't look as "spiffy" as the end result. I try to shoot so i do not clip too much. Since i can "scale" the remaining information in any range i want (black-mid-white levels) but if its clipped, then it's lost forever and anything above the clip will be a unison grey when lowered/heightened.

What he means is that he doesn't want to have any information
that would go over 100% (in theory). So not any whites that are
too hot (whiter than white) or too much black. Information is lost.
Changing shutter speed, lens openings, adding/removing lights,
ND filters you can control the amount of difference, also known
as contrast. When you have blown out whites in the sky for
example you only see one color and no variations.

Hope this explains it a bit. Otherwise I'll try to be a bit clearer,
but I'm in a bit of a hurry now. Sorry bout that.

Behold...JVC Prosumer HD cam....
 

Don't know if this has been mentioned on this forum yet, but...oh, just click the link!

http://www.camcorderinfo.com/content/hd_recording_camcorder_jvc_ceatec_japan_10_02_02.htm

There is already a thread running on this concept camera at:

http://www.dvinfo.net/conf/showthread.php?s=&threadid=4009

How much did you get your camera(s) for?
 

and accessories? I would like to see the price range! (it seems alot of people here have XL1s and what not)

Sorry David, but it's important to note that our community members are from all corners of the globe, and price tends to vary dramitically depending on where you are and when the purchase was made, and doesn't neccessarily reflect what *you* can expect to pay.

You might find someone here who got what you think is a superb deal, and when you go hunting for a similar deal and can't find one, it'll lead only to frustration. What matters is not how much you paid for it, but what you're doing with it -- that's what really counts.

As this invariably leads to the question of "where to buy," I'm going to close this thread with the strong suggestion that you check pricing through our authorized DV Info Net sponsors (see www.dvinfo.net/sponsors) for a realistic expectation of what to pay. You'll find their prices are often well below suggested retail (MSRP).

In short, any price below MSRP is a good price. Hope this helps,

any jvc gy-dv500 users here?
 

general impressions of the camera?

quality nice?

how does it compare to the xl1/s?

does it have a frame mode type function as well?

thanks for your help,

kermie

A search turns up some previous discussions. See these threads:

http://www.dvinfo.net/conf/showthread.php?s=&threadid=1335&highlight=DV500

http://www.dvinfo.net/conf/showthread.php?s=&threadid=2071&highlight=DV500

Please post any replies directly to those threads, so we can keep the discussions together. Thanks,

XL1s or GL2 Posters?
 

I was wondering if anyone knew where I might be able to buy or get a poster of either the Canon XL1s or GL2. Thanks for your help!

If you can find a local walk-in authorized dealer, they should be able to obtain one for you. They're fairly slick, good marketing material, but they're designed for camera stores... in other words, chock full of text, blurbs, hyperbole, etc. The biggest one I'm aware of is half-sheet size or roughly 18" tall by about 30" wide or so.

Sorry, I don't have any.

Buying info + editing
 

Hi everyone, I'm new to the board.
Been following it for a whlie though.

I'm going to buy myself a decent camera. I don't really know
what to buy though. I've been looking at the XL1s for a long time
now but I've recently discoverd the Panasonic 24p and the JVC HD
camera. So now I'm confused. I like the fact that you can change
lenses and overall I like Canon. Good thing is that I can use my
Canon SLR lenses with the XL1s with an adapter. I can imagine the
results being a bit, well not the best. I don't know. Then again
I like the Panasonic for being 24p and for it beeing true progressive.
JVC HD, well I'm really not in to that.. It's a great feat but.. I have doubts
to how much diffrence it would make for me. I've done films on a old
Sony handycam and I'm ready to step it up.

What are your expert advices? What camera can you recomend me?
How much diffrence it there between Canons "Frame Mode" and True
Progressive scan?

I have another question. I bougt myself a new editing system (Brand new
high speed computer) and a Pinnacle DV500 Plus. I'm not pleased with the
export between diffrent medias as native DV and let's say, MPEG1.
I find the "DV Tools" (Captureing program) to be, a bit "toy like"
Any of you use DV 500 or have heard somthing good or bad about it?

My second tecnical question: How do my editing system know it's not
captureing interlaced video but Progressive? Or even Canon Frame Mode?
I've not yet figured this part out.

Thank you!
Ps. I like the nice and humble feel to this board

/Andreas

Howdy from Texas,


<< I've recently discoverd the Panasonic 24p and the JVC HD
camera. >>


The JVC camcorder is a concept only. It is not even available yet.


<< I like the fact that you can change lenses and overall I like Canon. Good thing is that I can use my Canon SLR lenses with the XL1s with an adapter. I can imagine the results being a bit, well not the best. I don't know. >>


The results are excellent, however the focal length of any 35mm lens is multiplied by a factor of 7.2. See "Guide to XL1 Lens Options" in the Articles section at http://www.dvinfo.net/xl1.htm


<< Then again I like the Panasonic for being 24p and for it beeing true progressive. >>


Extensive info about this camera in our DVX100 forum at http://new.dvinfo.net/conf/forumdisp...?s=&forumid=47


<< What camera can you recomend me? >>


We get this question a lot. Ultimately, the right camera for you is the one which feels best in your hands and whose image you like best on the screen. The most important advice is, "try before you buy."


<< How much diffrence it there between Canons "Frame Mode" and True Progressive scan? >>


The results are pretty much the same. Frame Movie mode acheives the same look as progessive scan, but by different means.


<< I bougt myself a new editing system (Brand new high speed computer) and a Pinnacle DV500 Plus. Any of you use DV 500 or have heard somthing good or bad about it? >>


See our PC-based Editing Forum at http://new.dvinfo.net/conf/forumdisp...?s=&forumid=31 -- a search will turn up the different discussions we've had about the DV500.


<< How do my editing system know it's not captureing interlaced video but Progressive? Or even Canon Frame Mode? >>


Regardless of how the camera head is processing the incoming video signal (progressive scan, Frame Movie mode, etc.), it is all recorded to tape in the same way, as normal interlace, so that your playback monitor, televisions and editing systems never know the difference. Hope this helps,

broadcast ratio
 

i recently did a TV spot to be broadcast on TV. I was informed
that final broadcast resolution should be 720x486 as opposed
to 720x480. I was un-aware of this..though ive never heard of this being
true in the past ,.

Any comments???

I've looked this up in several reference books and Standard Definition (SD) is 720 X 480 interlaced. A newer catagory, Enhanced Definition, is defined as 720 X 480 progressive or greater. High Definition (HD) is defined as 1920 X1080 interlaced or 1280 X 720 progressive.

Jeff

Good Cheap Monitor. Not Too Big.
 

My old monitor is dying. I am look for something 9" to 15" that isn't too expensive.

Any ideas?

Radio Shack.

Cavision matte box and Century .6x wide angle adapter are fighting and want a divorce
 

Does anyone have the unique combination of Cavision's 4x4 bellows style matte box (for use with the XL1s) and Century's .6x wide angle adapter? If so, do you get vignetting? I had the bellows all the way compacted (or whatever the technical term is) and still I could see the corners of it in the frame, with the adapter on. I'm not sure I'm fitting the pieces together right. It looks like the plastic adapter ring (from 100m to 85mm) just butts up against the adapter, and doesn't screw in or clamp on to it, so that the matte box is held in place only by the mounting plate.

Varizoom 5.2" TFT Monitor
 

I just had my third Varizoom 5.2" TFT monitor go out on me today in less than three months. Has anyone else had problems with these? I use this with my XL1S and treat it like glass yet the picture still keeps going out. I'm planning on returning this one and looking at another brand. My biggest concern is that I need a monitor with at least a three hour battery life and hopefully a better way of connecting the battery then the Varizoom. Anyone have any suggestions? Are the Marshall monitors any good? Trying to stay under $500 if possible.

Greg

Tiffen has a new one that supposedly can be used in daylight. No info on cost yet. You can see it at http://www.tiffen.com

Another case file closed. Cavision apparently forgot to send me one of the adapter rings.

Broadcast standard resource
 

I have noticed a lot of questions on the board relating to standards of different techincal aspects of video-TV production. There is a very good guide published by Cannel 4 here in the UK that deals with these things. I assume there is something similar for all you non-PAL people, but until someone will share the link to such a document I would recommend a quick glance at this.

http://www.channel4.co.uk/4producers..._technical.pdf

It deals with the technical requirements of the productions they comission - and they are the same as most of the UK based channels. Bear in mind that some of these requirements does come from the fact that digital TV has come very far over here.

It is a good read nevertheless - it even deals with the 'film' look...;)

Great resource, Jon. Thanks.

Need advice on possible speech shoot
 

I might have the opportunity to film a talk by Paul Watson from the Sea Shepherd Convervation society tomorrow (not comfirmed yet) and I'd want to put the talk up on the web for those who can't make it. This is all late notice type of stuff so I have no idea what sound setup there will be or what the venue will be like. I will only have my camera (Xm2) and a Me66 and some XLR cable ;)

What I'm wanting is some advice on how to shoot something like this with a limited setup. Should I tripod it, frame it and have a sleep while he talks, or should I maybe zoom in and out a bit at moments when there are gaps in the speech, to make it a little interesting (I can edit out the zooms, so it will cut to closeups etc). Should I just frame most/all of his body and just pan around and follow him if he moves.

If he has a break, or I get the chance to move the tripod, should I do it? To the other side of the hall, or up a lot closer, or more underneath him if he's on a stage?

I know there are a lot of variables, but any rough advice for getting reasonably footage, that will not bore the pants of viewers would be good.

I'm hoping there is a desk I can jack the cam into for sound, but if not I'll have to cam mount the ME66 (I don't have a mic stand I can place the mic on to get close to him)

Thanks.

Film the whole thing and then edit together a highlights piece. If you can get a copy of his speech that would help and then you could zoom in for the important stuff.

As for the general speech, I'd mix up the shots as much as you can, but don't get too carried away. If you could borrow a second camera that would really help, even if it was just a single chipper. You could set it on the tripod as your wide shot then use the XM for close work as you move aound the room.

Watch dog
 

Anything new coming to Watchdog?

Yes. Hope to have an update online prior to DV Expo West in two weeks.

Tips n Tricks
 

Hey all,
I was just wondering if anybody had any interesting tips or tricks they've used in the field, whether it be for shooting or sound or whatever. For instance, I read one trick where a fella got a small mirror with an easel and placed it on train tracks. He shot a tight on the mirror and got a great shot of the train coming right at him. Stuff like that is always interesting. Thanks in advance!

I had an uncle who was a railroad engineer who was impaled by a piece of mirror that flew up from the tracks. I woooonder.....

Actually...this isn't so much a trick as putting stuff around you to good use. Due to the fact that I live in a huge city, there are lots of moving sidewalks, indoor and outdoor escalators, glassed-in exterior elevators...and they all work great as ready-made dollies and cranes.

P.S. The mirror idea is great, Daniel.

Upcoming trade shows
 

Hello everyone!
Does anyone know where I can find out about upcoming trade shows that will showcase DV cams?? I am interested if any are coming near Atlanta, GA.
Thanks
Jean King

Don't know of any near Atlanta, but we're starting to add major events to the Community Calender (link along top right row of buttons on this page).

noise filtering/encoding
 

Is there a general rule (whether to use or not to use and if so, how much) regarding noise removal before mpeg2 encoding from a miniDV (XL1) source?

I'm making a project for big size projection, do you recommend using noise removal in this case?

If so, which filters are the best? Comments about the remove noise filter of tmpgenc?

I have a nature project that includes lots of small detail, so preserving detail is a primary issue.

Well, I say it depends on how much noise is visible. MPEG encoding
is indeed much more effective with the less noise there is. But
you can also overdo it. I suggest you try out a some samples.
Within TMPGEnc you can set an encoding range, so you can limit
the encode (and the time it takes) to a small test portion.
Try it with and without the noise filter (and different levels) and
see what you get.

All in all in depends on how much noise is in your image and to
what level it is acceptable for you and/or your client.

Renting "down under"...
 

Hey you all Aussie people :)

I am planning to go off next year and finishing a special about Whalesharks. To do this i need to add some interview footage and location shots which my happy photographer forgot to do when he was here shooting whaleshark footage. So instead of toting my own cam and sound gear halfway around the world (i live in Sweden :) i thought i'd rent it on location instead. So thus presents a few questions.

1) How hard / expensive is it to get hold of PAL cameras in Australia.

2) Anyone know any good rental business in the Exmouth area (since this is where we will do our principal photography).

Regards,
Henrik

Henrik,

Australia is a big place and Exmouth is about as far away form anything that you get. I could pretty much guarantee that you won't be able to rent anything in Exmouth, a four wheel drive yes, an XL1, I seriously doubt it. Perth would be your best bet. I can't help much more than that as I haven't been to Perth for years.

PAL camera are easy to come by in Aus as that is the standard TV system down there. Again you should be able to find something in Perth. If not then you'll have to look in Melbourne or Sydney.

Exmouth is a remote but beautiful place and the whalesharks are magnificent. I hope you get the footage you are after.

24 with Keiffer Sutherland
 

I've watched 24 since day one - like the p in p stuff that establishes where various players are at the same moment and sometimes shows action from two camera angles. Tonight's episode included a neat segment with Jack in front of an airplane window, a perfect light edge on his silhouette in the opening shot, then played with in subsequent clips. What got me was the camera movement when focused on him. Lateral, left to right, then back, not shaky cam but deliberate pan. Not sure what it was intended to convey, maybe that planes aren't straight and true, maybe an attempt at tension..situation too fluid to stand still. I'm accustomed to locked down shots in scenes like this one. Anyone care to comment on the approach - why, how, where else it's been used?

David Hurdon