jourman

Hi all, wondering about the the true difference between getting a supervised telecine from super 16mm to digibeta with keycode while color correcting right then and there from the negative original into the telecine to digibeta --- in comparison to just doing a onelight telecine from super 16mm into the digi beta and color correcting it later with the avid symphony for example. is there a real difference ? will i really get more picture and color information on the digibeta if i do the supervised telecine ??? i have experienced both workflows, and would appreciate your input on the subject. we have shot 2800feet of s16mm footage and just got the film developed and wondering about how to go about it with the telecine. we have another 6000feet to shoot in January. cheers

Hello Everyone. I am looking for some in depth tests that anyone made to compare these two cameras. Preferably the tests were made on Z1 HDV format 1080i, and the HVX200 DvcProHD format. I would appriciate watching any tests made. Not just over and under exposer flexibility, but also resolution conclusions, sharpness, colors etc... even if you have still frames from tests you made, but in high quality picture file, i would love to see it. My conclusions about the 2 cameras, is that the Z1 HDV is awfull compared to the HVX200 DVCproHD, i would like to know what do you think... Thanks a million. Rami Katzav DP Tel Aviv Israel