Michael Schrengohst

Just zoom wide and focus...you will see the focus marking turn to MF (Macro focus) I find it easier in Macro to use Auto-focus first, let it settle, switch to manual focus and shoot.

Hello Ralph, We have HDCAM, VariCam, HVX200, Sony XDCam and some JVC and Sony HDV in the mix as well. We have a bunch of TimeLapse clips shot with DSLR's that are just awesome. Most of those are available as .jpg sequences. We are receiving 16MM and 35MM negs that will go direct to Uncompressed HD files and of course we will be supporting RED as well. You can contact me if you would like more info. Just visit the contact us page. Thanks

Just go visit the RED forums.... Most of the guys over there have an intense passion for the art, craft and commerce of film/video production. In this business if you cannot dream a little than whats the point?

You can also contact me direct at: info@motionzonehd.com

Hello Jim, You can shoot DVCPRO 50 24p.... You can shoot any mode any time, even on the same P2 card, does not matter.... What does matter is that you create a separate folder for each CONTENTS folder and LASTCLIP.txt The LASTCLIP.txt is needed if you have clips that span two cards.

You can use Raylight (dvfilm.com) or Aspect HD from CineForm, to edit with .mxf and Premiere.

Start here: http://www.apple.com/pro/pdf/L317074A_FCP_Wkflw.pdf P2 cards are needed to shoot HD. The HVX200 does have a DV tape drive for recording DV only. Final Cut Pro 5.1.2 is preferred to edit P2 footage.

1.) Nikon D200 - try manual exposure but with the lens wide open... adjust exposure with shutter speed.... There is software to get rid of flicker...TinderBox with AE. http://www.thefoundry.co.uk/pkg_plugins.as...8D-B20DB7A46E7A 2.) Shooting a series of still photos and then use a program like After Effects to produce a 1920x1080 format Quicktime movie at whatever frame rate you need. 3.) We have hundreds of timelapses shot with DSLR's on our site.

All the LASTCLIP.txt does is help you with spanned clips. How are your trying to import footage?

Do you have all the original files in the CONTENTS folder?

That is the problem that the first shooters of film thought. Oh my god....I opened the can, the film is ruined. Director: what a crappy idea! Shooting with a plastic strip of light sensitive emulsion...e gads man! Why in my day we lugged around 50 pounds of glass plates we prepared in a tent and we liked it!!!

Phil, It's not that bad.... I have imported raw .mxf files into FCP when a shooter thought that was all they needed. You can open an .xml file from another P2 volume and edit it enough to import an orphan .mxf file.... I am working on a DVD explaining the in and outs of working with the HVX and FCP.... And rescuing an orphan .mxf file is one chapter in the DVD.

Do you still have the CONTENTS folder??? LASTCLIP.txt is easy to re-build here is an example 0008OH (This is the name of the lastclip without the .mxf extension) 1.0 (This number is always 1.0) 9 (This is the number of clips +1) Make a new folder on your HD. Then copy the CONTENTS folder and the LASTCLIP.txt file you made with texteditor. Then in FCP (I assume that is what you are using?) Import P2>the new folder e-mail if you need any help beyond that.

Great stuff, when can we see a trailer? What size/frame rate/and settings where you using?? Thanks

Just copy your P2 card to a hard drive first. Think of it as your "negative" anyway. Make a new folder and then copy the CONTENTS folder and LASTCLIP.txt from the P2 card..... On Final Cut Pro 5.1.2 the import dialog is greatly improved and if you have not upgraded yet - now is the time!!! The $99 upgrade is over on Dec 20th!!

Thanks Sam, Here is some more info I found. http://generalspecialist.com/2006/10/green...n-checklist.asp

Camera settings look good.... I am not sure about capturing on the computer.... I know in NTSC land capturing on the computer will add 3:2 pulldown which you must get rid of when capturing. You really want progressive footage at the end of the day for best greenscreen captures. The IRE of the greenscreen should be at about 60% you want a nice flat line on the waveform. The HVX will spit out a signal for viewing on an SD monitor...just be aware that the set-up is not the same so don't adjust or judge exposure from the SD monitor.

I 3rd and 4th the P2 recommendations..... Shooting SD at this point is just shooting yourself in the foot. Many great shooters own the HVX and you really need to hire someone who is an expert shooting HD...... You can post P2 on an AVID..... But spending a dime shooting on DV because you own the camera should not be an excuse not to shoot HD.

The HVX does take a certain of tweaking to arrive at what would be considered pleasing. Proper white balancing and lighting go hand and hand. As with all the new HD cameras it will take some testing to arrive at what you consider proper flesh tones..... I see thousands of HVX clips and I know this camera when put in the right hands and set-up properly, will produce great results.

Plus if it is for TV why not just shoot 480i 30p??? For spots I shoot DVCPRO 50 480i 30p...... I shoot progressive because all the material gets reused for DVD and web.....

And you can always provide a "letterbox" 4:3 version.... I just did a DVD that has a 16:9 version and a 4:3 version.... Once they see how much cooler the 16:9 is they will run out to best buy and plunk down $3500 for a new 50" Plasma....

Will RED have a provision to "gain up"... Since it is almost grainess anyway??

YOU: I agree with Michael Schrengohst. If possible, avoid shooting interlaced if transfering to film. You will have less problems. ME: why is that though...? You need to research and find your answers to this basic question.... It is hard enough to get a high production value 35MM production to the theaters.....even DVD distributors are looking harder and harder at anything shot on SD video.....DVCAM and DV are basically dead ducks for productions that strive for theatre and DVD release...... You must shoot at least some form of HD (progressive is better and cheaper in the long run to deal with) to be taken seriously....

A bunch.....features are shot so fast that most every scene is color corrected.....and they do final post and finishing on high end systems. Films like Star Wars with so much FX and CG work that is all computer anyway, it only makes sense to film green screen and the few real scenes on HD.....you can have immediate feedback and show the actors how there are doing with the CG elements (if they are roughed in).... Films like Collateral??? I have no idea why that was shot HD.... Seems like more work really???

The grey card method will get you started...you are right...70% means nothing if you are recording people with darker skin.... Ansel Adams invented the Zone system of photographic exposure and the same basic rules apply to video....Lets say you are recording a bright sunny snow covered scene....the light meter on AUTO will stop down too much so you must learn what the right exposure should be... you probably need to open up a few stops....If you were recording a performer that was brightly lit against a black background your AUTO exposure would try to open up too much...in that case you would need to stop down to expose the performer properly.... You could white balance with a proper grey card....try it and see....the color chart was for the editors to properly color correct the scene.... The best way to learn is to keep shooting until the exposure adjustments become automatic....even then I still find myself tweaking exposure and color in the edit bay....