dv feature film

[parasher]

hi

 

i am going to shoot a feature film, on dv to be finally transferred to film for theatrical release...i have seen some jitters in a recent film that followed the same process....would like to get some pointers from the forum on things to look out for while shooting on dv .

regards

parasher

india

[Simon Wyndham]

Which camera are you using? Like many things in video its a case of 'how long is a piece of string?'

 

There's the usual suspects such as making sure not to blow out highlights, but there are other aspects too. If you are using something like a DVX100 or a higher end camera you will want to be shooting in progressive scan mode. That much is a given.

 

You will also need to adjust the detail circuits in the camera if you are transferring to film. Different DV to film transfer houses have their own preferences as to what camera settings to use. Swiss Effects http://www.swisseffects.ch are very helpful in this regard as are http://www.dvfilm.com

[Tomas Koolhaas]

Hi,

obviously when tranferring to film from DV you want to have the highest amount of resolution possible and least amount of artifacts and video noise possible.

Therefore I would suggest using an XL2 as oppossed to a DVX100 as it has slightly higher resolution (in 16x9 mode). Also avoid any camera's with 'fake' progressive modes like the XL1's "Frame" mode. When shooting DV which is not going to be tranferred to film I (and many other DP's) like to use a very slight diffusion filter (Black promist 1/8 in my case) just to give the highlights a softer roll-off. Other DP's (not me) like to use the gain up on DV as they feel it gives them a grain-like texture on the image. Although using these two techniques may give you a more 'filmic' looking image on a small field monitor if you use either diffusion filters or the gain switch on a DV project which you intend to tranfer to film, the final product (print) will look very poor, compared to if you had shot 'clean'. Remember on set that you are not trying to have the best possible image on the monitor, but the best possible image on your print later. Also as somone else stated, the usual pitfalls of DV will be your greatest adversary when trying to shoot for a good looking transfer: try not to have large blown-out portions of the frame (although don't be scared to give someone a nice hot edge), also don't allow anyone's face to get 'Murky' which is when it seems underlit with directionless light.

Good Luck.

Tomas.

[Alex Fuchs]

I think the XL2 in 16:9 mode is the right decision, but if your budget allows take an p+s mini35digital-adapter with it, so you have a great depth of field (like 35mm). Don't play with the gain! It's in my opinion like playing with fire. Another good camera is the JVC GY-DV500 (1/2-CCD with some more depth of field as the 1/3-CCD-Xl2 but less resolution). Look at this pic I shot with the JVC

 

http://www.cinematography.com/forum2004/in...?showtopic=4556

 

Hope it help you to make your decision.

[Joshua Provost]

Figure out in advance where you are getting it transfered, and work closely with them. Use their recommended specs for detail, gamma, frame rate, and shutter speeds. If you can shoot PAL, you'll get better resolution than NTSC.

 

Josh

[Tim J Durham]

hi

 

i am going to shoot a feature film, on dv to be finally  transferred to film for theatrical release...i have seen some jitters in a recent film  that followed the same process....would like to  get some pointers  from the forum on things to look out for while shooting  on dv .

regards

parasher

india

<{POST_SNAPBACK}>

 

There is a bunch of info here:

 

http://www.swisseffects.ch/english/e_tape/pages/e_tape.htm

 

And you can phone them and they will advise you on your particular situation.

Check the tabs at left for particular cameras, prices for their service, etc.

 

Tim