Preston Herrick

Good question. Since you can shoot an LCD display (unlike a CRT) without any flicker issues, and since LCD projectors are basically just an LCD panel with light pumped through, I'm going to deduce that there would be no issues there either. I'm sure someone else will chime in with a concrete answer.

I'm using a DataVideo DAC-10 to get component to and from my Beta deck. It's very clean. Because of it's features, the converter has come in handy for other things too. Got rid of my BetaSP acquisition equipment some time ago. Like Phil said, I think Beta will become the 3/4" of bygone years.

My understanding is, none of it was. Indeed disappointing. Perhaps the next demo will.

Yes, I was. I believe 1/60th is the default shutter speed on the DVX in NTSC land and 1/50th on PAL cameras - which would be correct for shooting TV's in PAL land (regardless of the frame rate you're shooting in). Pressing the shutter speed button will reveal it's current setting. The clear scan feature tends to be more useful when shooting computer CRT monitors with their highly varying refresh rates. Even with the shutter speed dialed in correctly, you may experience "tearing" or a fine bright scan line on the TV with any camera movement.

1/60th

One of our associate producers did double duty on hair and makeup. Though not a professional by trade she did have experience. And, since she was on set 99% of the time we had it covered. We let the actors handle their own to some degree too. Good luck on your project - and have some fun!

If you're using a CP with the butterfly shaped shutter (It will either have the butterfly or moon shaped shutter), then rate your film 1/3 stop slower. In other words, when you set the ASA rating on your light meter, set it 1/3 stop slower than you would normally and then you can forget about it. Or, do what John suggests, and don't worry about it. A slight "overexposure" will give you a slightly denser negative with less grain. I've had telecine guys tell me 2/3 over works well for them.

Hi Craig. I may catch some flack for this but from the sound of what you'll be shooting, personally, I probably would roll the dice and not bother with insurance. If you're on private property that you got permission to use as a location, the owner may require some kind of liability insurance. For our little project we needed insurance in order to shoot on govt. property. Since my wife works in insurance she found a company (Liberty Northwest) that could provide $2 mil in liability for a little under $50/month.

If you think you'll do a filmout shoot 24pa. Using the Panasonic preset, Premiere Pro will actually remove the pulldown whether you want to or not. It generates one of two selectable pullups on the fly for previews on NTSC monitors while editing. Outputting 24p DVD's is also not a problem using the PA mode. In fact, they look beautiful. We produced our short, "The Radio Mechanics" using 24pa (widescreen), edited in Premiere Pro, and authored in Encore with no surprises or anomalies.

It works very well (I can only speak for the DV version) and provides a considerable amount of very accurate feeback. You can also calibrate the "monitor" just like you would a traditional CRT monitor. I would characterize the features as more professional than consumer. Bear in mind that the "HD" version is for HDV (not high-end HD) so the input is via firewire. The cool thing I like is being able to record to a hardrive - either for backup or to go tapeless. In my case I is use a WD external USB drive I bought at Costco - a single wire hookup. Plug the drive into the PC back at the studio and edit, or dump the file to the PC. Either way it's faster than capturing.

Yes, I noticed the vignetting too and thought it a bit odd. (Also noticed dust in the gate that varied from shot to shot. Theater didn't mask the edges very well.)

According to AC magazine, the film (at press time) was scheduled to go through a DI. The dream sequences were directly attributed to the DI process.

It's a constant bit rate so: 3.75 minutes per gig.

Should be universal. Check with a lab that processes 16mm. They'll probably be happy to give them to you.

I kept the CP mount. An adaptor is available for PL mount lenses. The tap is a permanent mount but it's very low profile - not at all like the original CP tap. Basically a small box where the removeable plate is on top. I was cheap and got the B&W but I believe he offers either. The conversion also involves machining the gate and having the "fiber optics screen" (ground glass) remarked. No mods are done to rollers and I've had no problems with scratches along the edge.

I had Paul Hillman convert my CP to S16. It has the bowtie shutter. He has to modify the shutter slightly to make it work as described by Carl. I have since shot with it with very nice results. I've noticed no discernable smearing before the conversion. Everything I've shot with the camera has been telecined. BTW his videotap option (his own design) is top notch.

You might also get better results pulling a key shooting greenscreen in conjunction with DVCAM rather than blue.

Mandy.com

There is stuff out there but viewing web material is not a good way to judge the capabilities of the camera. You can see a trailer for our short at: RadioMechanics.com (but it really doesn't do the camera justice). DVXuser.com is another good place to check out.

FWIW, I had some Miller carbon fibre sticks once and didn't like them. Light but too flexible for my taste - just the tension in the head was enough to twist everything. I'll take the weight if it means rock solid support.

Yeah, I second what Matt said. Paul at Visual Products is "da man". Had him do a S16 conversion for me.

Jan mentioned our short film. You can check it out at radiomechanics.com

Thanks. Shot it with the Panasonic DVX100A. The teaser doesn't do the camera justice.

Here's what I did on a "no-budget" production, and it worked perfectly. Hung my flouro unit, ran power through a box I built with a momentary pushbutton switch, had a grip/PA push the button randomly during the take. You can see the effect in the very last shot of this teaser.

Barry Green's book on the DVX covers the use of the adaptor quite well - and how to get good results. There's some specific information on Adam Wilt's site as well. The book (and DVD) is worth getting anyway as it contains a lot of cool and useful info. You can get it through the DVXuser.com site. Panasonic is including it with new cameras now.