Post production is the place to sort things out. I shoot to a basic BBC spec set up that allows maximum grading in post. I have just hired a top London colourist for a day to grade my latest production and he has made the pictures sing

Originally we were going to get 2 EX1's, but now I'm thinking we'll probably get one EX1 and two HM100's. I've heard the ex1 and hm100 can cut well together, anyone had this experience?

With the frame rate thing, if I was to shoot 60P would the frame rate be kept when the movie is put to DVD or Blu Ray or would the 60P have to get converted anyways and lose the smoother motion?

We're buying cheap old cars and we were just gonna drill into the panels and bolt the cameras down. But I'm still gonna look at suction mounts, (thanks Hiram for the link). Thanks for your offer John, I'm actually living in Broken Hill NSW doing preproduction for the movie, so maybe I'll take you up on your offer down the track.

Make sure you buy lots of batteries for the Hm100. Battery life is not as good as the EX1.

A colleague of mine travels the world with an EX1 and two HM100s for multicam interviews, and he's shot voxpops on his HM100 for my EX1 based shoots, and yes - they can intercut very well.

A lot of beer has passed under the bridge about setting up the ultimate cross-compatible Picture Profile, but we've not got round to it yet as quite frankly a little touch of Colour Corrector seems to be enough to pass muster most times.