napali2

Thanks Ilmari. Much appreciated! Brian Bleak director/cameraman Los Angeles

I have a 16mm docco shoot in Helsinki, Finland coming up in December. I was hoping to get a good contact # for a reputable camera rental house in that area as well as a local AC who might act as an interpreter if need be. Thank you in advance, Brian Bleak director/cameraman Los Angeles

I saw David Mullen's informative DVX vs PD150 comparison test and was wondering if there might be a similar test with HDV vs. the 100A or even a GL-1 (which I doubt highly). I have a shoot that for the most part will require static interviews (head and shoulders) to be shot in minidv due to budget. Rental of larger formats is out- its a camera purchase project so dv is the solution. Due to the subject matter the film will be shot with available light and bounce fill only. Subjects will be seated by a window for a soft sidey single source look. Not a lot of movement in frame to avoid motion artifacts later on. I was leaning towards the 100A in 24P but the new HDV prosumer camera looks pretty interesting from a resolution standpoint to opt out of 24P and up the resolution. Or does it's compression negate this resolution hike? I have heard that the FCP NLE will not accept HDV as of yet. The film is for a video finish but I would like to protect for a possible film out at a later date. One of our subjects was in town last week so I was forced to shoot him with a GL-1 which looks quite nice when shot in the scenario above. But a GL-1 is what it is - I know the limitations of mini dv so I was hoping to hear some thoughts to keep resolution at it highest through the work flow. I would sacrafice the filmic in between look of 24P mini dv for more resolution in HDV so the image will hold up longer through the work flow. Obviously, my own tests will answer a lot of this so in the mean time I was hoping to hear others opinions on this. Would shooting in PAL be a good start? I know if i want to protect for a film out its best to shoot 24P advanced- so would the NLE limitations and capturing mode of HDV open too many problems in post if we are FCP users? Thank you in advance. Brian Bleak

Thanks a lot Alvin. Very helpful. Brian Bleak LA/ dir/cameraman

I was wondering how a Canon GL-1 as a B camera might intercut with the DVX shooting 24P? Are the optics, chips that much different where there would be a huge jump in sharpness, color, etc? I would assume the capturing mode would be the real difference maker along with some subtle color rendition differences (that might be color corrected later on) due to the different chips. Has anyone here ever tried the above or a side by side? Thanks in advance. Brian Bleak LA/dir-cameraman

Thanks for your opinions. Much appreciated. Brian Bleak

Last night on HBO I finally got to see 28 Days Later. On the small screen it looked quite nice for mini dv. I was amazed actually. Were these awful theatre experiences digital or film projected. How many of you feel the terrible projections were due to the limitations of mini dv or the result of pop out multiplex prints? Probably both I 'm sure. I can't beleive that Mr. Boyle would stand up after a projected test screening and say, "See I told you. Doesn't it look wonderful." Brian Bleak

Last night on HBO I finally got to see 28 Days Later. On the small screen it looked quite nice for mini dv. I was amazed actually. Were these awful theatre experiences digital or film projected. How many of you feel the terrible projections were due to the limitations of mini dv or the result of pop out multiplex prints? Probably both I 'm sure. I can't beleive that Mr. Boyle would stand up after a projected test screening and say, "See I told you. Doesn't it look wonderful." Brian Bleak

Thanks David. In your opinion, why did you prefer the SDX footage over the DVX footage? Brian Bleak

Knowing that many of you have made the rounds, I was hoping to save a bit of run around time and find some leads on credible Los Angeles post house that have worthy digital and film out showreels that can be screened - hopefully with examples of several aquisition formats to see the pluses and minuses of each when projected. Due to budget constraints, it appears mini dv is the only option for a docco I am to set begin in a few weeks. Because of the funding limitations and an eventual post finish for digital projection (hopeful filmout at a later date) does anyone on the list suggest a LA based post house that has a definitive side by side comparison of various aquisition formats that are projected both on film and digital to compare quality issues. I was hoping to shoot S16 or HD, but that might not be possible, at least for now. Do any of these finish houses (that you might suggest) have filmouts of footage shot with a DVX100 or SDX900? I would think that shooting in PAL would help the limitations of mini dv considerably. Due to the subject matter, there will be very long interviews (talking heads) shot in natural light. Knowing the format limitations, i would try to set up interior interviews next to windows spilling soft light or in shade for exteriors avoiding large lighting ratios. Any leads on this would be greatly appreciated. Thank you in advance. Brian Bleak