Mr. Shannon W. Rawls

Yes, it's true...it apparently halves the resolution, but owners of the camera "Dares You" to see the difference. They say you simply cannot see it drop the res. What needs to happen that has not happened yet.....is a simple resolution chart test. 24fps vs. 30fps vs. 48fps vs. 60fps.

I feel you Jamie.....me, I like the "digital to digital+tape" which is the best of both worlds. (ala firestore). My XL-H1's will be the last "tape based" camera I buy. When the time comes to upgrade, I feel safe with XDCAM cartridges or direct to hard drive. While I completely trust the compact flash card in my D-SLR to take a single photo when out on vacation with my wife, I am not confident enough in technology (especially with horror stories popping up every single day) to take 24 pictures per second for 60-180 seconds at a time totalling over 60 minutes in one day when out doing my day job. Maybe in a couple years when all the kinks are worked out, but P2 was introduced only in 2003.....I'm not interested in beta testing the technology with my movies on a $5k cam. Even Panasonics newest camera on the market, the new soon-to-be-released HDX900 is still tape based. To me, that proves Panasonic still knows better then to gamble with P2 with their "big spenders". One things for sure....even XDCAM and Hard Drive recording formats will be a thing of the past, and solid state will take over. And guess who will be at the helm of the ship.... PANASONIC! They are the pioneers of that technology. I'll just wait a bit until it's all worked out. *smile* Alexandre, www.DVFILM.com will do it for $20k. Read the 1st FAQ at this link: http://www.dvfilm.com/faq.htm Phil, I agree 101%

Wow, two horror stories in 8 hours on the same website. Thank goodness you guys caught it before you wrapped the day out and went home (or worse, wrapped the movie). If I used P2, I wouldn't delete anything on the day of the shoot. I would keep it all....including mistakes. *smile*

Mike, many people still record 720p and upconvert to 1080i/p because they trust a software upconvert of 720p over what the camera can do. HOWEVER, Barry Green....arguably the most knowledgable "real-world" person on the planet when it comes to the HVX200 still advises everyone to shoot 1080i/p with the HVX200 because it produces a better image then 720p. In fact, Barry shoots exclusively in 1080 with his HVX200. Why most people don't listen to him, I don't know....I personally think they are just trying to save P2 card space, but using "720p is better" as an excuse so they don't look like $$$ & time is the issue. me personally, I would do whatever Barry advises.

Lord have mercy! I too know someone who lost a scene because of P2 error. He had to cut his move around it because he couldn't afford to re-shoot the scene. I also know of a reality show that lost its P2 footage. Luckily, they discovered it early and were able to re-shoot it that same day. The shows producer went back to Digi-Beta after that episode. But your Colorado story is the biggest horror story i've heard thus far. Sheesh, what can one do with $20,000.00???? - buy and own 4 JVC HD100's - buy and own 2 Canon XL-H1's + 2 tripods + 2 mattboxes + 2 indi-follow focuses + a box of HD tapes - buy and own 1 Canon XL-H1 + a P&S mini35 adapter + a full set of good pre-owened zeiss superspeeds - buy and own a new Sony XDCAM HD - buy and own a RED - buy and own a pimped-out sound department, with a fancy cart, mixer, PD6 or DEVA IV 8 ch. timecode recorder & all the wireless mics you'll ever need - blow up an HD feature movie to 35mm film - buy and own a truckload of lights (including an assortment of all the kino-flo's and even a couple HMI's) - buy and own a cube-truck to carry it in - send your parents on an all-expense paid vacation anywhere in the world and say "thanks for being you!" - downpayment on a house in southern california to be used as income property for the rest of your life or of course.... - you can re-hire your cast, re-hire your crew, re-rent the location & re-shoot your lost scene using your HVX200.

short answer: ABSOLUTELY! the HVX200 is a phenomenal camera. Be sure to do your full research and as much due diligence so you will fully understand the capabilities of the camera beforehand. Especially in terms of your projects visual style. If you do this, your movie will come out looking wonderful.

Me biased? Max, with all due respect sir, we share different roles in this industry. Therefore it's important for you to understand.....'Miami Vice' it is not released to "YOU". Me on the other hand, I have seen the movie already. And don't be so defensive.....unless ofcourse you feel guilty of something. It's OK, i understand. Apology accepted. David, Agreed!

How come nobody questions CITY OF GOD, 21 GRAMS or TRAFFIC. How about MUNICH? Everybody is so opinionated when its comfortable to be. If this movie was shot on 35mm and ended up looking identical to how it looks now, nobody would have a single thing to say. But since you "know" it was shot in HD, the cinematography critics come'a runnin' with something bad to say. Don't you realize the only reason you are so overly critical of the cinematography is because you are aware of the format it was shot in? Well....go ask your mother about it. Your aunt, your next door neighbor who is a real estate agent and knows jack about movie making. Ask the man who works at the hot dog stand in front of Home Depot. Ask them if they liked the movie....most all of them will say YES! if you ask them how it looked, they will probably also say WOW, IT LOOKED COOL!!! Mr. Michael Mann, Misson completed. Collateral & Miami Vice looks phenomenal....period. Remember guys, we don't make films for filmmakers.

The URL has been updated: http://www.xlcinema.com/cinematic/showthread.php?t=631

Checkmate.

Here Here!

Wow David, I never thought of looking at it like that. Because in 60i footage, 60 photos are still taken in 1 second. Suffice to say 60i is still 60p, just only at half the verticle resolution because the fields are stitched together to create one full frame. So technically & mathematically 60i & 60p shares the same "temporal" resolution. Only difference is 60p is double the "spatial" resolution. (even though we all know this is silly anyhow because HD is not defined by temporal resolution to begin with).... Androbot is not arguing that 60i is not HD like you just proven it is. He seems to be trying to convince the world that 1080p24 and 1080p30 from cameras like F900, Viper, Genesis, etc... is not real HD. What knowledge can you drop on him about that David? I hope you can lay this to rest for us.

Says who? LOL You're joking right? So you're saying....the mighty $110,000.00 Sony F950 HD CineAlta is *NOT* a High Definiton camera, but the forthcoming $7k JVC HD200 720p only camera is??? OK....using your theory stated above, no matter what the spatial resolution, then are you telling me that if I shoot 4K24p (which is 4520X2540 but at 24 frames per second)...then that is *not* high definition? C'mon dude...are you serious? - Star Wars - Collateral - Miami Vice - Superman Returns - Wolf Creek - Once Upon A Time In Mexico ............all the above films were Fake HD in your opinion. Androbot(thomas james), I've seen you start flamming threads over at the SonyHDVinfo.com and you got slammed by everybody over at CreativeCow.net. Please dude, if you just really like the JVC camera, then buy one. But it doesn't help buy reciting silly nonsense to prove to the world you're in love with a camera that's not available yet. Just like Tim Kolb told you the other day, after you get your beloved HD200 camera some day, then please "report back on how many bids you win with your 720p60 over people offering the F900 1080p24 CineAlta". LOL

Mike, the f900 is 1440x1080 also.

I answered more of your question here: http://www.cinematography.com/forum2004/in...showtopic=13910 Also remember, Lucas simply cropped "Star Wars" and Mann simply cropped "Collateral" in post. They didn't use any anamorphic adapters. And they both used Sony F900's. That may give some inspiration to you. *smile*

Ketch, The Canon XL-H1 should be your last choice based on your list of options. Assuming you have the $$$$ availble for production and the neccessary resources for post production, based on the items you listed, I would go with the following: 1. Using the Viper filmstream or Sony's F950 to get 2.235:1 direct This is your absolute best option. If you have the means to get this camera and someone who knows how to use it and if you have the post production resources to edit this footage uncompressed or with a superb intermediate 4:4:4 codec, then your final image should look the best for your filmout. 2. Using Panasonic HDX-900 cropped in post to match 2.235:1 This is your next best mentioned option. This new camera (if available) should yield you an awesome image. It will be 4:2:2 HD and is surely the next best alternative in the list as far as image quality for a film blowup goes. As long as you use excellent lenses, the panasonic gamma recipe has never let anybody down. Everyone I know and heard of loves the taste of Panasonics Film Gammas from the DVX100 & the SDX900. This camera should be no exception. Be sure to use the 1080p mode. Post Production should be easy if you are using AVID. If you are using Final Cut Pro, then your in luck because last week Apple just released 1080p24 as a valid Quicktime framerate. If you are uncompressed HD, then any NLE will be fine. 3. Using any 2/3 HD camera pair with Canon's new Anamorphic converter to get 2.235:1? This option can only mean 1 of 2 other 24p HD 2/3" cameras.....The Panasonic Varicam or the Sony F900. I placed this option as #3 because if you were using the Varicam, it would belong here. But if you were using the Sony F900 (since the HDX-900 hasn't really been tested yet) it would "probably" belong above #2. Since you didn't mention which one, then I am forced to place it here. 4. Using a Canon's XLH1 cropped in post to match 2.235:1? This is a great option too, but certainly not as good as the three above. (although that is debatable with the Varicam) This is also your most inexpensive option. Assuming you will not be using the HD-SDI options the camera offers and will be shooting to HDV, then you will be 4:2:0 HD, using a very efficient codec. 24F produces an unarguably beautiful high definition image. Post Production options are available accross the boardusing any professional NLE available today. I hope that helps,

Michael, I wonder the same thing as you do. I sometimes think it's people who just spent $1300+ bucks on a monitor, brainwash themselves to beleive the monitor is good simply because they just spent $1300 bucks on a so-called HD monitor with only 480 verticle lines of resolution. I think the truth of the matter is "it's the BEST YOU'RE GONNA GET for under $4000 @ that size", and because of that.....the reports are claiming the monitor is a godsend, when the reality is, it's just "OK" for HD.

In addition to Matt & Alex, it looks like my question has been answered by a comprehensive report from the master blaster.....STEEV DINKINS! Read it here: http://web.mac.com/holyzoo1/iWeb/Site/Medi...43E802A339.html The short answer: The Component inputs are in fact visually better then the S-Video inputs.

Matt & Alex.....you're responses are convincing enough to spend the extra $850. I'll get the HD-SDI version for my XL-H1. Thanks guys!

Hey Matt, how's it goin'? Matt, have you seen this with your own two eyeballs and can 100% verify this because you've tried it with your Marshall & HVX200? I just wanna make sure before I spend the extra $$$, ya know?

I am going to run an experiemnt. Currently, there are NO Windows based programs on this big beautiful planet that will retain proper timecode of any pro HDV camera that recorded its footage in PRESET.RECRUN mode or FREERUN mode timecode. Having said that, I was wondering if there are any MAC based programs that do. Currently the only 3 programs I know that capture HDV footage for MAC users are: 1. Final Cut Pro (60i & 30p only) 2. HDVxDV (24/25/30 f & p, 60i) 3. DHVSCAP (24/25/30 f & p, 60i) I was wondering.....which of the above three programs will accurate capture footage from Sony, JVC and more specifically Canon XL-H1 with the .m2t file having the correct timecode embedded in it. To make sure I am clear about what I am asking......... Please capture some HDV footage from your HD100, Z1U or XL-H1 and be sure that the tape DOES NOT BEGIN at 00:00:00;00. Honestly, FREERUN timecode is the best test while capturing over a few timecode breaks and such. Once you have succesfully captured a few seconds or minutes of footage, playback the file in your MAC and ensure that the timecode at the beginning of the .M2T file is the same number on the minidv tape where you started your capture at. Please reply with your results. *smile* THE TEST that I am going to do is the following: Since .M2T files are multi-platform, if someone replies with a successful capture of HDV footage retaining timecode in the file on their MAC, then I am going to take that timecode-embedded file and put it on a PC, and see which PC NLE's can read it correctly. If it does....I will buy a MAC to be used for HDV capturing only, since PC companies can't seem to get it right.

What I'd like to know is this: Since all the Marshall monitors are only 800x480 resolution, then why bother spending the extra money ($850.00) for the HD-SDI version or ($450.00) for the Component RGB version....when in fact you can just get an S-Video version for $900 total. I mean, why bother with HD input if its going to get busted down to 800x480 anyhow? Just save the $$$ and get an S-Video version and spend that money on something else. Am I off?

Adam....really? This is possible? Plugging an HDV camera to this monitor using firewire will yield an image on the screen? Have you tried this yourself? Has anybody? What camera?

HDV color correction for the XL-H1 you want? Then you got it...check out this website and learn all you need to know: http://www.XLCINEMA.com

Alex, To answer your question SPECIFICALLY for the Canon XL-H1. Check this out: http://www.xlcinema.com/viewtopic.php?t=151 Also, shooting rain with HDV will be no problem with the Canon XL-H1. You will not experience any artifacting. I suggest increasing your Shutter Speed will assist you in this, but I am sure some of the awesome Cinematographers here can fill in those type of questions for you. And as for your cassette options. nomral MiniDV tapes will work. However I have not seen any cost 5x's more then the cheapest tape available. I get mine for $11.25 each. Please visit www.EdgewiseMedia.com for more help on that.