Will Novy

Here you go: http://www.dvxuser.com/V6/showthread.php?t=47406

Interesting information. Ill have to remember that later on. I thought that both the shutter and frame rate determined the exposure. But since it seems the shutter determines it, its a interesting way to increase, lower exposure for tricky shots without messing too much with the source of light.

So i take it david, 48 frames a second at 96 shutter is one stop less? Or am i way off?

lets just say that my g4 laptop can edit 720p/24pn without a problem. I think the G5 will be fine, even if editing 1080i.

1. If you play it back and you didnt record 24pn, it wont look slow motion. if you do, then on playback it will play back in slow motion. 2.24pn is "true" 24 frames. 24p is 29.97, progressive. 3. the upconverted is true. To tell the truth, unless you have a 50' HD TV and up, you really arent going to notice the quality difference between 720p and 1080i. And the camera does not have 1080p. 4. if i were you, i would pitch that a second P2 card is needed, otherwise you wont be able to shoot while it downloads on the computer. (hot swapping as they call it)

Yeah, i just felt it better to have the option of shooting all formats then being limited out of the over/under crank, which is one of the bigger selling points of the camera in my opinion.

Yeah, but the post slow downs always look like crap. True in camera slow motions looks soo much better in my opinion. No computer regenerator can top that.

Usually for the DVX vs. XL2 it is just personal preference. As for the flicker, it usually happens when 24p footage is blown up to big screen. Since you said you arent going to do that, 24p is fine. And as for the difference in 24p vs 24pa, that link should be helpful.

I agree. I have a Bogan as well and couldnt be happier. Although i use it for a little heavier camera than the DVX, but it should work well with it.

Maybe film posters/dvd covers/etc. Anything that deals with graphics really. Or if you know web design as well, building a webpage for the movie pays well.

I have a pelican 1600 for my HVX. The 1550 sounds about right and as for "airline proof" you wont have to worry about opening it back up to find what looks like a exploded DVX :-D.

Interesting, does it have to be 24pn? I had it in 24p and it didnt do it. I didnt try in 24pn yet. Ill have to try that. Thanks. If anyone has tried it in 24p (not n) mode and still seen slo-mo, let me know, because it was weird...thanks a bunch! Actually, i just tried it. You were right, it had to be in 24pn mode. Do you know why it wont play back slo-mo in just 24p mode? Is there something im missing?

Hi, i was shooting film mode with 60 frames a second. I went to view it on my p2 card and it plays it back at normal speed that I shot it. Is that normal? Do i have to view it on my hard drive or something to see it slow motion that I filmed it? Any help would be nice. Thanks. -Will

So many people read it and dont comment. haha. It's ok i guess, i found something out about the firestore. Apparently it records all formats of the camera EXCEPT 24p/24pn. That made me realize just to get the 2 P2 cards (8 gig) and the P2 store. Apparently it only records 1080i mode or i guess 480i. Sucks, it would of been a lot of help with all that space. Oh well. P2 is more reliable than a harddrive anyways.

Depends on what you are shooting on, as for distance, it also matters what type of look you are going for. Ive seen a helium balloon setup, and they are pretty brights. I guess also matters what size balloon you got.

I'm about to purchase a HVX200 with a 80 gig firestore drive. I was wondering if anyone had any info on it, because i havent heard much about it except for at a demo in LA. If anyone has used it let me know what you think. Thanks.

Probably not your best bet, but you should of switched out the fluorescents at the hospital with the kino flo. I know that the kino's fit in those fixtures, but as of the other way around....never tried.

The truth still stands that the HVX200 isnt the best HD cam out there. But for price, i'd buy it. As for compairing HD to film, the recently shot "slient hill" was shot not only with 35mm but HD as well. I cant tell the difference, not even with DOF. So i guess HD is climbing the ladder faster than most people thought. (they used the cinealta for the HD footage)

Ive always shot mostly with the DVX, so I would say get that one. If you can afford it even, get the HVX, but yeah. I think you would be satified using either camera, but I like the feel and look of the DVX over the acute angle of the XL2. But that's just my opinion.

The quality of the HVX200 for MiniDV is better than anything the dvx can produce simply because of the better 3ccd chip and lens. As for how heavy the camera is, it roughly weighs about 5 pounds.

I havent heard...anything really about this camera, but on a job listing website, they want a DP who knows this camera. Any tips on it would be appreciated. Ive just heard nothing. Thanks.

I guess it all depends on the DP as well on how the outcome will be. As for the sky you are correct, but since he says he is shooting out in a field I doubt there will be any practicals so they arent a problem. Underexposing for day-for-night is tricky especially if shot on film, you have the risk of losing data that otherwise can be dimmed by telecine or editing software. but, once again i agree, use ND grad filter when shooting the sky and avoid the sun in the shot if possible for sake of having too bright of a main source.

In digital you can shoot day for night. There are certain filters for doing so and even final cut has a inexpensive version of a day for night "filter" it can generate. The trick that I have heard is to silk the actor so that no hard shadows show on the ground and to get rid of ALL hot spots however possible. I havent tried this with the XL-1 but im sure that there will be some sucess. Also try white balancing for a more blue tone to help with the effect. Hope the shoot goes well!

i doubt so. My friend owns both the 100a and 100b. The 100b was released specifically for the 24p setting, which is why he bought the 100b. I could be wrong, but im about 90 % sure about that

I also go to Brooks, and find it to be one of the more technical schools out there. There are about 3-4 cinematographer teachers at the school, and each very different from the next. I hear that Chapman has a good DOP by the name of Bill Dill, who i see is listed as being in ASC, so he cant be all that bad. As for the "advisors", I think by now, they dont call as much, and from talking to one recently, they dont really want you to go to brooks if you arent 1. serious about being a film maker or 2. If it isnt the place you should go. If you have connections somewhere else, aka out of state, you would probably have a better chance going there and being a student. The Art Institute is another good Cinematography school. Shop around and find out that suites you.