I did see it and it was, indeed, quite a piece of work. How these brothers managed to keep their mental focus to get their footage was amazing to me. Equally impressive was the editing work required to weave the footage into a compelling story. A true masterpiece.

CBS broadcast the show in what appeared to be 16:9, with the exception of the firemans' tribute at the end of thee program. I wonder if these fellow shot their footage in 16:9 or if this was manipulated to HD.

Also, I thought I saw that one of the cams looked like a PD150 but I caught the shadow of the other cam which looked more like an ENG cam. Maybe a DSR300? Either way, the footage all looked pretty good...in terms of image quality, that is.

You unfortunately need the Realaudio plugin and NOTHING from "REAL Networks" will ever be put on my machine. The amout of spam and intrusive software they put out is ridiculous. If only there was a Quicktime version somewhere. Does anybody know of other places to view this?

I'll ask Chris what rights he has (remember that Showtime is involved to some degree here)... I would be happy to offer server space for a streaming trailer, or something along those lines, in Quicktime format, if my serverchief Jeff doesn't mind too much. But this ulimately is a legal question revolving around distribution rights, I think.

Thank you so much. I understand the whole rights issue, it's such a pain.

right about rights
 

Showtime has the rights so there won't be any other clips unless they put one on their website, which is unlikely. We are working on a DVD version that will hopefully come out next year. In the meantime, the screening will have to do.

Thanks for checking on it anyway. I just hate "REAL", in case you couldn't tell.
LOL
Rhett

Starwars!!!
 

Any Star Wars fans out there want to watch a 10 Minute short,
shot on an XL1. Check out:

http://atomfilms.shockwave.com/af/content/starwars_prologue

If you could watch the piece in it's entirety and vote on it at the end that would be much appreciated.

P.S. You may notice the fluctuating light. This is the result of my camera being accidentally set to auto gain instead of negative three. Live and learn. Let me know what you think.

Thanks guys- Nori Wentworth

Nori,

Nicely done!!

Perhaps the members of the forum would be interested in hearing about your production experience. (How long did this take to shoot?, What was the edit session like? Did you mic the actors or was the dialogue done in post? Did you use Premier, After Effects, FCP to edit?, etc., etc.)

I'm interested in knowing how you did the light swords.

Keep up the good work.

Bill

TechTV Article: Digital Cinema
 

Apparently a TechTV aired a feature titled, "Coming Soon to Theaters: Digital Cinema" on Friday, March 15. You might find the accompanying web site article interesting reading:

http://www.techtv.com/news/culture/story/0,24195,3376395,00.html

Nori,

It was nice overall, but I am a bit of a critic and due to my
own feelings of certain things I found it a bit less enjoyable
then otherwise would have been. I'm really not the type of
guy who likes the lets be funny category. So that retracted
from the movie for me. I do not know why you choose to
go down this route, so please do not think of this as a bad
thing, it is not meant to be!

The overal movie was very nicely done! I liked the editing
but I thought it missed some speed at time. The light
sabers were nicely done. You might want to look into color
correction to give it a bit more of a professional look (I am
doing this with my own movie at the moment as well).

I've been critic enough now, I hope you do not take it the
wrong way and I hope my comments help you.

Thanks for sharing the movie with us!

Great effort Nori,

I liked the Matrix meets sled riding redneck costume design. The lighsabers were well done, but yeah, I agree with Rob on the colour correction issue. For a web movie it looked really good though.

That was warped..... and not my taste really. BUT... I was totally inthralled and drawn in.. I thought the editing was supurb as well as some great special FX.... Over all I thought your film was a very well played out vision.... Congrats on making a good short.

Keep up the great work.

Looks cool - shot entirely on the GL1, eh? Nice! His editing skills are superb.

I take nothing the wrong way. Any critisism is good, it can only make you better, thats what I think. ;)

- Nori Wentworth

Citadome Teaser Trailer
 

Hello;

I just thought I would share my teaser trailer for a movie that is far, far away. This was shot on my old Analog Samsung Camcorder :)

Citadome Teaser Trailer
Trailer: http://members.shaw.ca/kloudi/theater_001.htm
Poster: http://members.shaw.ca/kloudi/images/poster.jpg

I just invested $11,000 into my video business, With that I purchased the Sony DSR PD-150 and a bunch of Audio equipment. I am also looking at purchasing some lowel light kits soon. - I can not wait to start shooting my feature this summer.... When you get new toys it feels like christmas all over hahahaha.

Anyways enjoy the trailer.

First Hand NTSC 35mm
 

Has anyone here first hand seen what NTSC DV footage looks like on a 35mm transfer at an event?

I have a Canon XL1S NTSC, and after reading this forum am still confused of whether you can successfully go to 35mm from NTSC.

Does NTSC look like garbage on film?

Thanks

Vicks

Nevermind I found what i was looking for.

Thanks

film
 

so what did you find..anything worth a look at?

I would like to know what DV footage looks like after a 35m
transfer...

Chris if you haven't added it to the GL-1 pages...
 

...you should.

The technical pages are excellent. It shows pretty much how to setup a GL-1 and do some impressive work. It seems he shot in frame movie mode, but that is not clearly spelled out.

I guess he could have done it in post doing the de-interlace thing.

Audio, he has used Sennheiser 100, which is my vote for one of the best wireless around. It is amazing that after listening to lavs, you can tell when they are being used.

It would have been interesting to see what he had learned about lighting. Short story, it seems he learn well.

Later,
Nathan Gifford

Films
 

I heard about Bamboozled, which was shot using Sony digital cameras and an XL1.

Looked into that.

I finally found time to watch the 9/11 doucmentary. Very moving. You couldn't have written a better plot...with the brothers losing track of each other and all. I thought the rookie fireman showing up out of the blue without much to say was rather anti-climactic.

Has anyone heard what kind of digital cameras the brothers were shooting with?

The most chilling moments were when the firemen paused at the sound of a body landing outside. yikes!

They shot that with a pair of PD150's, or it was one P150 and a DSR300, not sure. But at least one PD150 for certain.

ASCAP costs for SYNCHRONIZATION and PERFORMANCE permission ?
 

Does anyone knows a ballpark figure of how much ASCAP charge to give a license for use of one or two not so famous songs of an artist of statue like Vam Morrison (he's well know, but i imagine, not extremly sought) for SYNCHRONIZATION and PERFORMANCE permission?

I would imagine my wife could answer you, but give me some more info and I'll ask her and get back to you.

Is it for broadcast? Is it for commercial purposes? How long will the piece be?

Well it would be used once or twice in the movie that will probably go to video here and definitely for theatrical release in a small european country.

not bad at all ulrik!

but, what i am interested is how did u manage 2 capture that great audio? what did u use if i may ask?

Sorry I can't give you anything to help. My wife's experience is in commercials.

Well I was going to leave it at that, but that wouldn't do this community justice, so here's something (from ASCAP FAQ) with a link for more..

If you are using a pre-recorded song or another pre-recorded piece of music in your film, there are two rights you need to clear; that is to say, you need to get two different licenses to use the music.

Synchronization License: This is the right to synchronize a song or a piece of music with your visual image. It must be obtained from the copyright owner of the music, which is usually the publisher. You can find out who the publisher is by using ASCAP's Clearance Express (ACE) at www.ascap.com. Songs that are not represented by ASCAP might be found at the National Music Publishers' Association "Songfile" website (www.nmpa.org).You will be provided with a contact at the publisher's Business Affairs or Licensing Department.

Master Use License: This is the right to reproduce a specific recording of a song in your film. You clear this right with the record label who owns the specific recording you would like to use; see the liner notes of the recording to find out which company this is. Alternatively, you can get contact information for record labels by calling ASCAP's Film/TV Department. You will be provided with a contact at the record label's Business Affairs Department.

Hope that points you in the right direction. Good Luck!

It's not cheap
 

I just checked into using a famous song from twenty years ago for a thirty second commercial.

It seems this is the hot thing to do right now, and it doesn't come cheap.

The quote I was given was "high six figures or in the low sevens".

The guy I talked with said the last one he did cost two million for the rights.

Old rockers have to pay for their retirement somehow you know.

mike avery

Full Frontal and XL 1s, FCP info
 

Hi Folks,

Apples site has a series of articles on the new film Full Frontal, http://www.apple.com/hotnews/articles/2002/04/fullfrontal/ that I thought many might want to checkout. Of cource it features the XL 1s and Final Cut Pro. Mostly the PR stuff but some good info for the undecided (about NLE's) amongst us.

Jeff

A lot of pictures seem to be missing on that site though... Seems
to be a very extensive report otherwise.

thanks for both critiques :)

captured audio .. walking sounds and the water in the bathroom, eggs etc. were captured with the mic on the xl1s

additional sounds as the "flashsound" or the strange noises were from some soundfile I download about a year ago from some independent filmmaking board or from computergames and I changed it with some musicprogramm

ah .. the percussion was capture with the XL1s mic as well .. the standard version, no ext. mic .. and I put a small echo on it.

hope this helps and have a nice weekend, all of you :)

Ulrik

Legal releases in a 3rd world country?
 

I'm plannning to do a docu in a 3rd world country which might involve a few interviews with local teens? Would I need a release from them or from their parents?

And generally what type of releases do I need from my interviewing subjects when they are adults? Is there a certain standard to adhere to? Also, since I'm going to non english speaking country, do I need a local translation of the release or would English only suffice.


Help anyone?

Thanks kindly.

I'm no expert at all in legal things... but logic for me answers
your two questions:

- will you need a release form.
Yes. Those are people who can sue you too (probably).
The chance is they won't, but you probably don't wanna
risk it anyway

- does it need to be translated
I think this will be the best to do. In a 3rd world country
I doubt many people speak (and especially read) english.
It might also be best to keep it as clear as possible for
them as to not confuse them with legal terms.

Just some thoughts.. As I said, I'm no expert what-so-ever
on these matters!

Hi Ulrik. I just downloaded your movie, then realised I'd already seen it on hackermovies :)

I really like what you did with the outside bits, the colour and feel of it was great. Was it a camera filter or did you do it in post?

The sounds was cool too. Makes you think the onboard mic's aint that bad after all! ;)

Keep making more films and good luck!

Depends completely on local law in the case of a release in that country.

In case of release in other countries there are various international agreements that may apply.

Worse case, someone in the movie comes to the USA (or your home country if not the US) and sues in local court. Whether or not you need to head this possibilty off depends on whose image you propose to use.

If a great deal money is involved, get an experienced lawyer.

everything what had to do with changing the image was done in post-production, that includes all the color effects .. no filters were used

true at hackermovies.com is another version of this short, forgot to mention it - sorry

good luck to you too and have a nice week :)
Ulrik

Upcoming mini35digital feature
 

This is an early preview trailer shot with a one chip Sony PD1P. Principal shooting starts this summer on the P+S Technik mini35digital adapter and the Canon XL1S. The trailer is a bit big...

http://www.operafilm.com/campslaughter.html

Bruce A. Johnson recently did an article for dv mag...he shot in africa, and did come across some issues, i suggest you can contact him through the dv.com forum, he moderates the camera forum

Also; 3 minutes of uncompressed video would be something like 3,6 GB in size.

It is correct that FCP does not do a recompression within the timeline if you don't tell it to. A filter or text layer would produce a recompression and degrade the material. DV is a very destructive format due to it's heavy compression. Scrolling texts are virtually impossible to achieve due to compression artifacts within the DV codec.

the other trailers you have are these projects finished ? or just trailers shot to raise interest/$$ ??

i watched all the trailers . visually they held my interest (don't know what they were saying--- because of language )....