Chris Graham

thanks for the feedback -cheers

Thanks Mr. Machi. Actually someone send me a heartwarmth message on why I shouldN'T sell the camera :)''' Basically saying that I should still continue with those ideas for S8. i'm now confused and undecided. regardless if the person is an S8 purist he provided good feedback! arghh

16x9 or 4x3 isn't going to improve any resolution. Understand that these camera functions are conveniences for realtime matte observance. The draw back with 16x9 with the GL2 is that it's "cutting" away your upper and lower sections digitally. Even if you shoot at 4x3 and you want that widescreen 16x9 matte look in post you're still eliminating your upper and lower sections. Research about camera sensors/chips that are more ideally designed for 16x9 ratio/capture. You'll notice that marketed and in the specs. Unfortunately, unless you have something like a Century Anamorphic lens, which is costly, you won't benefit from true 16x9 capture to 4x3. In other words if you use an anamorphic lens its shaping the light so that your GL2 can take advantage of 16x9 on all areas of your sensors. It'll look distorted through your 4x3 display, but in post the 16x9 will stretch out fine and via a widescreen monitor. So, I recommend just setting it to 16x9. If you set to 4x3 you're just doing an extra step in post when you matte. Plus again the 16x9 matte benefit in realtime is ideal for your situation and the camera you're working with. btw, you're not a filmmaker are you? =P

zooming out to a wide shot, kind of like one of those Apollo series lift offs where the camera zooms back making it seem like it's elevating drastically when the ship is probably static or non elevating when it hits 70 ft? =P

Hey guys, new to this section. I'm really good at sound recording, eq'n and mastering. I realize that audio tweakery and effects enhancements, both in the film trade, add a SIGNIFICANT deal to the final result. For instance in the audio spectrum you don't want certain frequencies to clash. That's proper mixing and more breathing room. WAVES, who are now a big time digital audio effects company, offer almost identical reproductions to classic hardware racks, AND they're officially sponsored by those original companies. I'm sure with film effects processing this is the same case, however I'm fairly new to mastering effects via digital (PC). Now I can assume that in film, like audio, you can process and hear effects in realtime vs. rendering just for a sample playback. What I'm getting at is that rendering time doesn't effect many and are aware of its nature, BUT without a doubt almost everybody prefers realtime observance. For me, there are certain things I have to wait due to rendering. Ok, no big deal. In the end I achieve successful results. So, I ask you guys, with film and digital tools such as Bullet Time or even better like some high end Color Corrector suite package vs. hardware, can you achieve magnificent results, and is this a common practice for many indie projects or even theatrical? I'm sure many of you have heard the saying that "you can't polish a turd," surely, but a really good pro can find ways to improvise. I guess what I'm getting at is that I'm soon to buy a $5K digital HD cam, probably Panasonic w/ G2, but I would like some assurance of on the market, great color correcting mastering and effects tools? Whether it's Adobe or something else. thanks fellas! hope to post here more often. -cheers

sorry wrong thread

thanks for the replies. Will contact you Nick. btw, i'm based in NYC. reasons why i wanted to keep it: 1.) yeah the only reason I really wanted to keep this camera was to do music videos for this new trend of indie bands going retro with influences from Duran Duran, Depeche Mode, Flock of Seagulls, etc.. lol somewhat of the "new" New Wave and Synth pop rebirths. seriously, it's there! lots of artists/groups like to go old school, and surely a retrend happens within a lot of art cultures. however, never got around to it. 2.) i'm a big fan of B&W. i love it! i was trying to do a project based on 50's Japanese Samurai cinema. I wanted to use this HiCon B&W stock from Pro8mm. the contrast and detail is incredible! never got around to that as I would only shoot in Japan, or travel and scout on the north western part of the states, perhaps Canada to be even more accurate. then again, I just don't have the time. =( 3.) S8 is perfect for small frame mediums! people don't understand this. we're in a new era of small frame entertainment. think iPod Video, Phones. S8 when squeezed into a small frame would look lovely in my opinion as it doesn't have to worry about blow up criticism and comparison vs. the norm. however, I'm also an avid fan of great cinematic long shots. I'm talking Dances With Wolves esque, and storyline. for some crazy reason I've gone to love Westerns. I honestly think it's the American in me and appreciation for the states. I had to do several road trips to the western states to appreciate or be aware of it. Therefore, I can now enjoy instant benefit with 16:9 and 4:2:2 with ease. With powerful digital effects nowadays it's more than enough to achieve a certain look. Then hopefully I can better my portfolio for future and bigger projects as a Director. thanks for reading my circumstance =) please shoot me an offer via PM if interested. gracias

I have a great condition 1014. I can post pictures shortly. Truthfully, and sorry, but I'm selling out to the digital trend. Maybe the next time I do get an S8 I'll want it already modified anamorphic style, like from Max8. I've enjoyed this camera. I will try and post my last piece on youtube and link. I'm really trying to get a camera that's 4:2:2, and he HVx200 seems to be the one. Anybody interested in buying this camera from? I'll try and find the original box. Thanks oh btw, has anybody done any new transfer to uncompressed media drives? never got around to testing out that 10-bit protocol

Good morning, Gary. The only reason why I would want to continue using a GL2 is because it's a bit more robust than a small cam. With the GL2, if proper rigged, it's just the ideal and standard shape for a camera if I'm wanting to do jib or crane shots? I know some of you are probably thinking that if I'm going that route I might as well rent out a better camera. Thing is, like all, funding or budgets is extremely tight. I will research the A1. I have been doing a lot of research or readings towards different censory chips, on how bigger chips aren't necessarily better than smaller ones. For instance the differences of noise ratio.

I'm up for any sound location projects. I'm based in New York City. Can record in 5.1. Can help you eliminate bad audio. I have a BA in Filmmaking, particularly Directing. I'm really interested in composing for Sci-Fi, Suspense, Drama, Thrillers. I guess all really. Can I create a filmmaker audio page via Myspace of some sort? I use Pro tools and various other pro audio programs, and record at 192khz HD. Keep me in mind. thanks =)

thanks so much for the prompt reply. In all honesty I'm fairly new to digital formats. Most of my actual cinematic work has been done on 35mm, 16, and 8, preferably. However, I love making shorts, and in this day and age it seems that digital and 24p is one of the most flexible and fun ways to put down ideas or projects. So, I just don't want to get suckered with all the marketing and branding going around with different hi-def specs. I love the GL2. The lens was a big deal when it came out, for Canon of course. However, the GL2 doesn't shoot in 1080i or up to the new "dedicated" as they call 16:9 sensory chips. In the end, imo, a good quality images comes from the lens and good lighting. At the same time I love new features and ease. Would I be stupid to trade in a GL2 for a HV20? Does the anamorphic lens from Century show promise? btw, when I put the GL2 in "frame" mode is that mimicking 24p? it seems so.

thanks guys. Should I go the route of 16:9 sensors or getting a GL2 and buying the anamorphic lens? The Canon HV20 i will check

any UFO sitings as of late shot on HD? surely HDV has caught on to the UFO trend. maybe a step forward from really bad digital zooms? btw shouldn't a GL2 do justice? =P lol

i've noticed that some forums allow a videolink would be nice if this site had it. i wanted to show a half min clip from a shot in Ran. i think it's one of the best shots in filmmaking. cheers

i don't need a car in nyc. the reason why girls have such great asses in this city is because everybody walks! when its spring time fashion wear or the fall, foiget about it! ass a thon =) i'm really drenched into the couture fashion scene here. young 19 yr old russian models and coke. hotness! yes it is a sad world but nobody's perfect.

hey guys in all honesty i'm cool with everybody. life's too short to make enemies. =) by the way did I mention that life's too short to make crazy & fast moving-frame-images within film? =P

just remember, Brad. The Steadier the better!

Hello. My friend moved to Hawaii a couple of years ago and lent me a 5 piece lowel light kit. In researching they are identical to these. He gave me a nice compact case for them as well. However, I don't have any power cords for these. I tried using one from a computer powered cable since it fits nicely, but I'm thinking I need an adapter or they don't work? If they don't work I'm thinking of selling the kit, but I don't know the value for it. Would be nice to have c-stands or special mounting clamps for these. I might keep them or not. Sorry, I'm not a cinematographer. Mainly Screenwriter. =) thanks for your help http://www.lowel.com/ilight/

thank you, guys. really appreciate it. Am I fine with Adobe Premiere since I don't have Final Cut? I run on PC. Lastly; why is this HVX at this price!?? skeptic http://www.bestpricecameras.com/prodetails...x?prodid=308260

thanks, Nate. is it better than a GL2?

ideally for filmmaking. or what would you recommend? thank you

probably does. I'm 26, make $93K a year. Live in NYC. I think I'm doing just fine. How about you? I mean if you think Scorsese's nasal cavity is the prettiest thing then perhaps you need to do documentaries on the actual people within the industry. i mean internet chat forums have been around for more than 40 years. btw, i'm being sarcastic

yeah i had a hard time reading my post as well. a lot of the time i'm high so i drift off in run-on sentences and poor grammar. that's pretty much how i post, unfortunately. regarding CG? no you didn't mention it. i mentioned it. it's not like i went on a tangent and talked about submarine engines, unless they're beneficial or contribute to today's filmmaking. aren't they nuclear powered?

for me I set my standards high, and would like to achieve newer, traditional, or very challenging camera work. if i had the money i'd go to Colorado or Wyoming and have a field with Spydercam or something. or if I really had the money try and engage with a true set, not cgi, but a real set and try and do something like Ben Hur's racing scene. for me that's what filmmaking is about. granted in film school you're more boundary oriented to more real world style shooting. BUT every film school does not encourage this. i mean "shoot," (pun intended), they always teach the ground basics. every adult/instructor may have been on a traditional bias toward high production standards, but you can't blame them. 50's golden era style filmmaking imo would've been the mecca. no cgi to worry about. you either did it or didn't. long shots of Lawrence of Arabia where they show numerous tents out in a field. btw, only an idiot would shoot that frame in hand-held! lol and Greg Traw, we're all real people. you make it seem like an individual digs in his funds to see whether something is worth watching. you should know better about film (movie buying purchases), the average person isn't a filmmaker. i'm a filmmaker, but i don't elite myself within that mode and try to suspend myself with disbelief of the industry. if i don't what fun is it to not hanging out with friends. and that's my point, many of have seen this what a family, friend, gf, etc... many are not going to judge it or argue with the person they're going to see it with. in fact, the average joe doesn't care about those technical values they just want to see the film, so exclude filmmaking critique and nerdiness for that part. another point, i think the many reasons why cinematographers might not like this style relates to what i last said. if a he/she is out with his gf and all the film is hand-held how is this professional supposed to suspend himself with disbelief when they know they could do it as well. chances are he/she will end up critiquing it. but when you have steady framing and you see something like Lawrence of Arabia on a big screen you're caught in magic because teh focus of content is what's in the frame, and not being disturbed by the stability of the frame!

hi, Annie. you're in New York. remind me to buy you a ticket to see Ultimatum via front row seating! you're going to love it! =)