business cards
 

Business cards were mentioned above but I want to do it again. You really need them in Japan. Everyone in the crew.

I think you will find that the guy who sweeps the floors at Nissan will hand you a business card as well as the guy who cleans the toilets at Sony.

I don't care if the card says: 'President, Underground Messkit Repair Division (Submersible)' you stock will go up by half a point just having the card.

Have fun!

yeah, I forgot about business cards, it seems everyone and their mother here has one, bring a bunch of them, I'm sure you'll go home with a big stack from everyone having given you one. I've got a big stack of cards and I can't remember the people who gave them to me.

When you get the card, as soon as the person who gave it to you isn't looking, write down a note on the back so you will know who gave you the card. Some people might hand over the card very formally, so just follow thier lead, but it might go like this, they hold the card with both hands at the edges and hand it over and you take it with both hands at the edges, then make sure to read it carefully in front of them, make a small remark such as, " nice design,"
Be sure not to put it into your back pocket.

If you guys are going to several cities, if might be worth it to get a Japan Rail Pass, get a one week pass and you can ride anywhere on the JR train, this includes the Shinkansen (bullet) trains. It faster to take the train between Tokyo and Osaka.

I'm just curious, what are you all guys doing over there in Japan? What kind of video work exactly do u do there? Do u have work permits are u married etc? I mean, is Japan some sort of Mecca 4 shooters, or r u keeping a secret from the rest of us unatached?

I've been here 11 years, my wife is japanese. I shoot weddings for a wedding hall, that's mainly a part time sort of gig, but I also shoot fashion shows, music videos, club events. I'm currently putting together two videos on the underground scene here, one is a Gothic video(been filming the gothic/industrial/hardcore scene in Osaka for the last year and a half) and the other on the Kyoto S/M-fetish/bondage scene. Here is a link to the next event I'll be filming at, a friend who has a fetish boutique in Kyoto is doing a fashion show at this event and I'm going up to Tokyo this friday, the 19th, to film it, www.torturegarden-japan.com

I'm also working on a short 15 min video/movie with a friend, I worked on a doc on the world cup recently, a friend of a friend was making it and I helped out by doing camera work at the Kobe/Osaka games, we went up to Yokohama for the finals, had a great time.

So far I've been shooting video solo, I work for myself, but I'll shoot anything that comes my way in form of jobs, but for the last two years I seem to be getting a lot of fetish/gothic/bondage work. I'd really like to make a living shooting music videos and fashion work, but in the end, as long as I shoot video and I'm able to pay the bills then I'm happy.

The good thing about shooting video here is foreign video shooters stand out, and so we get noticed more, a good and bad thing but overall its good. In the end, it mainly depends on who you know here, most good things happen because someone introduced you to someone and you got your foot in the door, the longer you stay here the more inside you can get.

I just got my XL-1 back from the canon service center 3 hours ago, it only took 4 working days to put in a new drum assembly, put it in last wednesday and picked it up on tuesday.
Just in time before I head up to Tokyo.

What kind of video work do you do?

Oh, nothing exciting like u Rick ;-)

http://www.airmassive.com/sanchez.html

all video is exciting;-)

I see you found an old interview of me from my friend's website. that was done way back in '98 when I was just using a videonics MX-1 mixer and a sony vx-1, running it through the mixer onto a tape, make two different tapes then mix them onto another tape. Some noise from the dubs but sometimes it looked cool.

how did you find the airzine website? check out www.japan-zine.com the webmaster also writes for that e-zine, it's based out of Nagoya, but it covers Osaka, Tokyo and Nagoya. You can see what stuff is happening here. If you ever make it over here for vacation, there's lots to see that doesn't involve temples and rice fields, although they do have some cool temples in Kyoto.

I believe there is another xl1 sighting in Swordfish in Stanley's ex-wife's/porn king husband's living room for their adult movie making.

BDOG

they have Dark Angel on video over here and I've seen one episode where the news crew people are outside the police lines, one guy has an XL-1!

Astraila Pal, SECAm, or NTSC?
 

Hi Yall. Last year I mad a 45minute documentary of a four wheel driver trip staring seven Unimogs, and I have bean distributing it around to interested buyers at cost. Now one year later I have yet anther sale, just this time its in Australia. The question is: what is the TV standard over there? And if it is not NTSC than were in western Canada can I get it converted, and how much would it cost?
Thanks a big one

Alex

In the Land Down Under, it's a PAL world. It shouldn't be too difficult to find someone to do the PAL conversion for you. Perhaps one of our numerous Canadians here on the boards can help you out with that.

There are lots of places in Vancouver where you can get it converted. I can check the yellow pages here and give you some phone numbers.

I'd be interested in seeing your video. I'm into off-roading, and Unimogs are just damn cool. How much do you sell them for?

Wow Chris. That was one fast riply, about 7 minutes from the time I posted it. Thanks for the info on that Chris.
Dylan that would be much appreciated of you. As for the video I charge $18 CDN. If you would like a copy I let me know and ill give you my mailing address.

Thanks again every one
Alex

OK, here are a couple, all area code 604 of course.
There are the ones with the biggest ads that list NTSC/PAL conversions under their services.

Edward Lee Production Inc. 589-5270

Source Media 524-4900

Image Media 324-4191

A B C It Video Services 522-2023

Reflection Video Production 581-1609

If you need more let me know, there are probably another 30+ listed in the yellow pages. I just realized this is last years phone book, so if any of the numbers are not is service, that's probalby why.

Hope this helps.

Dylan

Thanks for those numbers. I am going to try and get a hold of some of them in the morning.

Alex

Tadpole
 

Does anyone know the technical specs on the movie, like what it was shot with and who did the transfer.

I just saw it the other day and it was unbelievable for DV, it looked great on the big screen. I've read some interviews on it that mention it was a handheld minidv camera but none specify which one it was or any details on how it was shot.

Anyone know the details?

thanks

shot with 3 sony pd150's

Full Frontal info + review
 

http://www.aint-it-cool-news.com/display.cgi?id=12835

Mostly shot with XL1... can't wait to see the results. Doesn't
seem to be a "mainstream" movie though.

I just saw the trailer on broadcast tv tonight. It looks...interesting. Res Magazine has a cover story on the film this month. I think Full Frontal opens here in the U.S. in a week or so.

It was scheduled to open in May, then the studio set it back to November. But it would make sense, I've started to see and read alot about it again. The film's site doesn't say anything about the opening though. I think it will be a fairly mainstream release here in the states. For a young director, Soderbergh has a very strong following. Of course an Academy Award never hurts.

Jeff

New Yorker Review
 

Here's the New Yorker review (in the 8/5 issue by David Denby) of Full Frontal:

". . . 'Full Frontal,' which was put together by Steven Soderbergh . . . is perhaps the most naively awful movie I've seen from the hand of a major director . . . . 'Full Frontal' is the kind of arbitary mess that gives experimentation a bad name. The news that the movie was shot digital video and film in eighteen days, and that the actors drove themselves to the set and applied their own makeup, would have made a nice Sunday Times story if the movie were any good. But it isn't, so the low budget austerities come off as the newest form of ostentation . . ."

I guess there's still time make the first DV hit.

It was shot on DV and 35mm in LA on a 2 million dollar budget.

It's opens in 125 theaters.

Hall Of Mirrors indie film!
 

I just bought and watched Hall Of Mirrors! What a incredible DV film! Yes DV! It wasn't a XL1 but man it looked great! But I really didn't notice what it was shot with, it was a great movie anyway!
I encourage anyone to check it out who is interested in NO BUDGET filmmaking! This is a must have on how to make a film look!

See:

http://www.magiclanternpr.com/films/tadpole.htm

http://www.calendarlive.com/top/1,1419,L-LATimes-Movies-X!ArticleDetail-66436,00.html

http://www.boston.com/dailyglobe2/212/living/_Tadpole_director_learns_lessons_the_hard_way+.shtml

http://ofcs.rottentomatoes.com/movie-1114787/reviews.php

Shot on a 1-chip Sony Digital 8 camcorder.
For more info see http://hallofmirrorsmovie.com/home.html

What an inspiring site/movie! Thanks for the link.

Click here for streaming video of XL-1's in production
 

Hello. Below are a few links demonstrating the XL-1 in various production environments inlcuding commercials, multi-camera concerts (with major artists), a music video, a documentary and more. XL-1's utilized studio kits, a jib, and steadicam rig. Let's here some feedback. Thank you.

You must have windows media player to view these files

Links:

Main Link
http://community.webtv.net/JEFCom/JEFCOMSTREAMINGMEDIA

Commercials
http://community.webtv.net/JEFCom/COMMERCIALS

Concerts / Music Videos
http://community.webtv.net/JEFProductions/CONCERTS_MUSICVIDEOS

Documentary
http://community.webtv.net/JEFCom/NATURESTREAMING

Steadicam (high speed)
http://198.65.158.133/steadicam/STEADICAM300K.asx

Steadicam (dial up)
http://198.65.158.133/steadicam/STEADICAM56K.asx

Automated broadcast systems smashing miniDV cassettes
 

Hi folks! I want to zero-in on the issue raised tangentially in another thread: Is anyone else experiencing problems using miniDV ccassettes in automated broadcast playback systems? If you saw the other thread you know that we are submitting a program in miniDV to a community access broadcaster who says miniDV cassettes are cracking in their automated broadcast playback system, and they're insisting we switch to DVCAM, simply because DVCAM cassettes are more durable. I asked another community access broadcaster about this and they said "Well, yes, it happens occasionally, but not more to miniDV than to DVCAM or S-VHS or other media, they all crack in the automated system occasionally." Is anyone else experiencing this as a notable problem with miniDV?

Also, I'd again like to ask if anyone is regularly recording in miniDV format on small DVCAM cassettes. This same community access broadcaster says this won't work, although it seems to most everyone else I have spoken with that it should work. I've had one response from our friend in Estonia who says it seems to work for him in an experimental mode -- now I'm looking for any broadcaster who is regularly playing back for broadcast from small DVCAM cassettes that have been recorded in miniDV format. I'd like to know what kind of broadcast playback hardware you are using and what your experience is with using these more durable DVCAM cassettes over miniDV -- but recorded in miniDV format. Thanks one and all!
Scott
New York

Can you find out the brand (Sony?) and model of automated unit the access broadcaster is using? If you can, I can get you a definative answer. Without knowing the specifics your answers will be vague and basically useless.

Jeff

The theater I work at is playing Full Frontal. I haven't seen it yet, but I've poked my head in to see the XL1s footage. From what I've seen so far, it doesn't appear to blow up to 35mm very well. But then, he is using straight out of the box with available light. I'll be going to see it in the next day or two, I'll let you all know how it is.

-Shawn

Hmmm...yes, I can see that that is the case. Margus said something similar to me this morning (more specifics needed). I'll see what I can find out and post again. Thank you!

Shawn, the reason the XL1S video doesn't look very well on the big screen is due to the extreme post-production processes which Soderbergh foisted upon it. It's not "out-of-the-box" at all, but heavily dumbed down. See this thread: http://www.dvinfo.net/conf/showthread.php?s=&threadid=2870

Click here to for Nature Conservancy Documentary shot with XL-1
 

Nature Conservancy - Alternative Spring Break Program

This was shot in NW Georgia in February of 2001.

It was shot with an XL-1 configured for EFP

No crew was used, just the camera operator

It was cut with Premiere 5.1c


Link:

http://community.webtv.net/JEFCom/NATURESTREAMING

Interesting Reuters Story
 

I came across this Reuters story on Yahoo!

"PluggedIn: Digital Video School Teaches Filmmaking"

http://dailynews.yahoo.com/news?tmpl=story2&cid=569&ncid=738&e=1&u=/nm/20020806/tc_nm/column_pluggedin_dc_2

The Chateau
 

I've heard of a DV feature coming out soon. Its called, "The Chateau." Distributed by IFC. Produced by Greenstreet Films (NYC) and Forensic Films.

You can view the trailers on the movie sites.

I am planning on seeing it. From the trailer it looks good.

I'll find out what it was shot with soon.


Feature Creators, we have work to do!


Cheers!

Do you have a web address for the trailer?

See http://greenestreetfilms.com/projects/chateau.html -- however I didn't notice a trailer.

* * THE LINK * *
 

Here is a link:

http://movies.go.com/movies/T/thechateau_2002/index.html


A fairly reliable connection/highspeed/56K...

http://www.apple.com/trailers/independent/the_chateau.html

Quicktime Movie Trailers site.

Decide for yourself.

JVC-500 & XL's used in concert footage
 

It should be noted that in the concert series 4 XL's and a JVC-500 were used in the mix. Because of the reverse angles, you can physically see the different systems and get a great opportunity to see a picture comparison of these cameras in a production environment. The difference is not as noticable with this streaming footage as with the DV masters though. During the day a noticable difference is apparent, but once darkness sets in, the XL's and JVC look almost identical under the the stage lighting.

Interesting. I think DV is the next skill that the new crew of kids will learn to do (just like spreadsheets, word processing, Internet, and db).

The skill here is still learning how to tell a story and to put it to tape.

Nathan Gifford