Micah Fernandez Posted June 22, 2005 Share Posted June 22, 2005 And what are important pitfalls to watch out for? Thanks to all who help :) Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted June 22, 2005 Premium Member Share Posted June 22, 2005 And what are important pitfalls to watch out for? Thanks to all who help :) <{POST_SNAPBACK}> What format did you shoot? (50i/1080, 60i/1080, etc.) What camera are you using? Have you already shot the movie? Link to comment Share on other sites More sharing options...
Micah Fernandez Posted June 22, 2005 Author Share Posted June 22, 2005 An FX1 will be used, for a commercial that is to be shown in a movie theater. I'm not certain what format as I won't be calling the shots. Will it matter drastically? Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted June 22, 2005 Premium Member Share Posted June 22, 2005 An FX1 will be used, for a commercial that is to be shown in a movie theater. I'm not certain what format as I won't be calling the shots. Will it matter drastically? <{POST_SNAPBACK}> You can transfer anything to film; it just depends on what level of motion artifacts you can live with. The FX1 only does 60i/1080; it doesn't have a 50i option like the ZU1. For a film transfer from HDV, shooting in 50i makes the most sense, so it can be converted to 25P and then transferred 1:1 to 35mm for 24 fps projection (so an audio adjustment will be necessary.) For transferring 60i/1080 to film, it's similar to transferring NTSC (60i/480) to film. 60 fields has to be converted to 24 frames. Don't use the CineFrame modes for a film transfer. Besides the non-film 60i look you're going to get, the other problem with HDV is the high compression level and low color information, which will make artifact-free color-correction in post difficult, so try and get it close to the correct look in camera when shooting. Link to comment Share on other sites More sharing options...
Micah Fernandez Posted June 22, 2005 Author Share Posted June 22, 2005 Thanks for the useful tips David. It's great to have someone as generous as you in this community. Another question: what about an XL2? What are the characteristics of its image quality vis-a-vis the FX1's when blown up to 35 mm? Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted June 22, 2005 Premium Member Share Posted June 22, 2005 You'd get the 24P motion rendition with the XL2 but a lot more resolution with the FX1. Why not use a pro 24P/480 camera like the SDX900? 2/3" CCD's, DVCPRO-50 4:2:2, professional lenses? Link to comment Share on other sites More sharing options...
Micah Fernandez Posted June 22, 2005 Author Share Posted June 22, 2005 I did bring that up. However these two cameras are the only ones immediately available. The concept isn't final yet, so I'm doing as much research as I can. I take it then the XL2 would be less appropriate for a sleek, glossy look like say, a Mercedes Benz ad? Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted June 22, 2005 Premium Member Share Posted June 22, 2005 I did bring that up. However these two cameras are the only ones immediately available. The concept isn't final yet, so I'm doing as much research as I can. I take it then the XL2 would be less appropriate for a sleek, glossy look like say, a Mercedes Benz ad? <{POST_SNAPBACK}> Neither an XL2 or FX1 is appropriate for a sleek ad. Car ads are shot in 35mm; the next choice would be Super-16 or pro 24P HD. Next choice would be pro 24P SD. Somewhere below those would be a consumer camera like the XL2 or FX1. But probably the FX1 would look "slicker" than the XL2. But why mess with these cheap consumer cameras for a car commercial??? You could rent an F900 for the weekend for less than the costs of a complete DV or HDV package. Link to comment Share on other sites More sharing options...
Chris Burke Posted June 22, 2005 Share Posted June 22, 2005 I did bring that up. However these two cameras are the only ones immediately available. The concept isn't final yet, so I'm doing as much research as I can. I take it then the XL2 would be less appropriate for a sleek, glossy look like say, a Mercedes Benz ad? <{POST_SNAPBACK}> If this is a Mercedes add, why are you shooting on HDV and not 35mm? In any case, all the HDV cameras out there are 1/3 inch chip. the XL2 with a 35mm PS tecknik adapter and cine primes will give you a great look, the SDX 900 or Vari Cam for that matter will give you a much better, "sleeker" look. Little cameras with little chips and lenses, give a softer, low res look, akin to video. If this is desired, go for it, if not, push for a better format, even Super 16. chris Link to comment Share on other sites More sharing options...
Guest Kai.w Posted June 22, 2005 Share Posted June 22, 2005 You can transfer anything to film; it just depends on what level of motion artifacts you can live with. The FX1 only does 60i/1080; it doesn't have a 50i option like the ZU1. <{POST_SNAPBACK}> Not to be pedantic (sp?) but I guess you referred to the NTSC version... The pal version does of course do 50i but lacks the 60i option, which is probably what you meant.... -k Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted June 23, 2005 Premium Member Share Posted June 23, 2005 The PAL version is called the FX1E. The NTSC version is called the FX1. The Z1U does both 50i & 60i. There is some good info here: http://www.sonyhdvinfo.com/ Link to comment Share on other sites More sharing options...
Micah Fernandez Posted June 23, 2005 Author Share Posted June 23, 2005 If this is a Mercedes add, why are you shooting on HDV and not 35mm? In any case, all the HDV cameras out there are 1/3 inch chip. the XL2 with a 35mm PS tecknik adapter and cine primes will give you a great look, the SDX 900 or Vari Cam for that matter will give you a much better, "sleeker" look. Little cameras with little chips and lenses, give a softer, low res look, akin to video. If this is desired, go for it, if not, push for a better format, even Super 16.chris <{POST_SNAPBACK}> It actually isn't a Mercedes ad. The concept isn't even final yet so I am trying to get my bearings concerning what blown up DV/HDV can or cannot do, so obviously most of these questions are trite and insufferable ;) 35mm is out of the question for the budget allocated, and 16mm is extremely problematic to process in my country. Link to comment Share on other sites More sharing options...
Chris Burke Posted June 23, 2005 Share Posted June 23, 2005 It actually isn't a Mercedes ad. The concept isn't even final yet so I am trying to get my bearings concerning what blown up DV/HDV can or cannot do, so obviously most of these questions are trite and insufferable ;) 35mm is out of the question for the budget allocated, and 16mm is extremely problematic to process in my country. <{POST_SNAPBACK}> you may find the blow up to 35mm to be quite expensive as well. Perhaps a digital projector is in your future. Check out bonolabs.com they have some great Super 16 to hard drive packages. Good luck Link to comment Share on other sites More sharing options...
Guest Kai.w Posted June 23, 2005 Share Posted June 23, 2005 The PAL version is called the FX1E. The NTSC version is called the FX1. The Z1U does both 50i & 60i. There is some good info here: http://www.sonyhdvinfo.com/ <{POST_SNAPBACK}> Never noticed the "E" :rolleyes: Thanks for clearing this up. -k Link to comment Share on other sites More sharing options...
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