David Bradley

I'm getting really tired of shorts shot on interlaced video. Unfortunately par the 'cineframe' (faux progressive) function on my Z1E I only have access to a dsr570wsp (pal). I want to de-interlace the video in post from 50i to 25p. What program if any would allow me to do this (preferably Avid xpress pro hd if anyone knows how to configure it to do so). Also would it create a 'film look' without any nasty blemishes or artefacts? Could someone explain interpolation to me?

thanks Adam, Troy, that pretty much clarifies it for me. I was just unsure if the aperture in a zoom lense was variable. So if a zoom lense at 30mm in focal length at f2 has a physical aperture diameter of 15mm then when zoomed to 70mm the aperture will compensate and become 35mm in diameter in order to maintain a ratio of 1:2(f2). So in theory an fstop is a constant and is merely an expression of a ratio relative to focal length. Assuming thats correct then I may have finally made sense of all the mess I've been reading. Thanks for the links guys 'Hecht, Eugene (1987). Optics, 2nd ed., Addison Wesley' - looks to be a good read regarding optics. Apparently there is a 4th edition dated 2002 on the shelf so if anyone else is interested maybe this would be a good place to start.

By my understanding the fstop equals the focal length of the lense divided by the width of the aperature i.e. a focal length of 50mm and an aperture diameter of 25mm = f2. This makes sense on a prime lense but I dont understand how zoom lenses work. At 50mm with an aperture value of f2 their is very little difference in light transmittence when zoomed to 200mm. Could some one please clarify fstops for me, every book and article I read tends to add more confusion to the subject. Best David

Im feeling that, I went to China last November on an OB with work and none of us could even get our heads around the basics. Try ordering a beer, seriously its a joke!

Where are you based? Im always game for a new project.

I have always assumed that since the minimum sensitivity of video is 7.5 IRE units, the three little bars (pluge bars) on the SMPTE bars are arranged as 3.5, 7.5 and 11.5. Since 7.5 is maximum black then surely there should be no difference to the eye between 3.5 and 7.5 and they should both appear fully black. Only 11.5 should be discernably different to the 7.5 units. My problem is I constantly appear to over expose with a 'properly' lined up monitor or viewfinder. As a result I tend to set my montior brightness slightly higher than it should be and expose to that. Can some one tell me where I'm going wrong because work have mentioned this slight over exposure on several occassions now and I never find out until I hit capturing.

sorry mate, my bad thats totally true. I meant to suggest if there are any 3200k sources in the room to allude to the prescene of practicals then a 5600k exterior light would look more convincingly like daylight. I really should read what I write before I post since I was trying to provide an account of single source lighting. With tungsten stock I suppose you would just use a 3200k single source right? Cheers Dave

I would tend to use a single lighting source, like a 2k to 10k fresnel on spot beaming through the window making sure that its balanced to 5600k when using film at 3200k or a 3200k video white balance, then I might use a reflector board to bring the talent up to an acceptable level. Its just down to preference and you may find after blocking that a single source doesnt suite your scene, it may just not fit with the feel of the picture. It does however look natural and quite moody, the light off the reflecor is softened but not so diffused that it washes the room out by bringing the walls the same level as light as your talent. I tend to use a big black curtain behind the reflector board so it doesnt spill everywhere. Oh and a smoke machine or anything else that can make the room hazy means if you use a cookie like a venetian blind you can see the defined light busting through the window. All very specific I know but I like the effect. unless there is evidence within the scene to suggest any practicals don't back light, it looks unnatural and can alienate the talent from an otherwise natural looking scene.

I wouldn't really price DVCAM that much more than mini DV. DVcam generally lasts longer, a 60 minute mini DV tape will often record in DVcam mode in a DVcam VTR meaning you only get 40 minutes of recording time. I bought 5 DVcam tapes (PDV64N) on ebay for £27.89. Its not just the dropouts that are reduced with DVcam, its physically far more robust and I think I've only ever had one with serious problems. From an editing stand point, DVcam wont make too much of a difference but a dsr 11 DVcam VTR cant be that much more expensive that a mini dv vtr.

thanks matt, best look into hiring a z1 then Film maker friend from overseas wanted to shoot both sides of the pond for a low budget DV film and he didnt give any consideration to formatting. He shot on a PD-150 and an XL2. As far as I'm aware the XL2 and PD 150 have 1/3" CCDs as does the Z1. Would this suggest that all three cameras have a similar perforamnce with regard depth of field? As far as Im concerned the XL2 is leaps and bounds ahead of the PD150 I would assume it has a better sampling ratio and for all I know his DP in the US may have shot progressively.

Everytime I have tested a video camera's speed I have hit approximately 320 ISO. The sony f900 is at that speed, as is the 570ws, the 450ws and the dvw790. I used the method you have described above and I would say its the been the best way in my experience short of a waveform monitor.

No offence Dan but the pro-mist in that context would look like a prelude to a cheesy 70's porn unless used sparingly and discreetly. As for the family bit, i'd be tempted to agree, always thought it would be weird to have some chap stood next to you at the alter while you throw away the key on the old ball and chain.

just the z1 then?

Cinematography, screencraft peter ettedgui - best book I've read, second to taht is blain browns Cinematography tehory and practice, its quite technical but links alot of the discussion to films for reference. Paul Wheeler BSC did a nice series of books - the original cinematography was the best, digital cinematography was also good but HD 24p really just discusses the pros of using HD. All about pricing and stuff but it has some pretty detailed in camera menu instructions for the sony f900 if you ever use it.

agreed, ENG lenses also tend to breath far too much. ENG sucks, lol - I need a new job.

this all got a little off topic don't you think. England is as good a place as any within the EU. Most major productions here are funded or are part of larger Hollywood productions. For instance, Studios such as Ealing and Pinewood were used for star wars. As a result most of the senior staff on big budget productions are based abroad i.e. the US. There is however work for camera operators and assistants but only well connected ones. Personally whilst I study I have settled at ITN (televised news). A large portion of the UK film industry (and it isn't huge) is dominated by production for TV be it Live studio, drama or documentary. Only about one BBC production a year is shot on 35mm, there is a tendency to shoot 16mm or Digital beta. Having said that the BBC have some of the best DPs and operators in the world and provide its employees with a solid career path aimed at developing its staffs skills and interests (part of its educational philosophy). Being in Europe if you do get involved in a very European stylised production i.e. British Social realism, you will learn a niche style of film making whose practices may not translate well into a Hollywood model should you choose to work in the states. In my personal experience those with the most work in the UK are operators with a specialism i.e. Pole cam, Jimmy Jib, Steadicam etc. Producers using British Studios due to cost are likely to use their own crews but often call on local specialists with access to their own gear. Good Luck

Do both the HDR-FX1 and HVR-Z1 allow the user to switch between 50i and 60i?

Hello. I have access to an XL1. Does anyone know if I can shoot NTSC and Pal and this camera?

uni recently purchased a z1 and a few FX1s, do either of these cameras have a true proggressive capturing mode?

I love it, but it is pretty heavy as Im sure you have noticed . What lense are you using? I find the detail level is best turned off or to a slightly negative value as images particularly with hard lights look a little too crispy. Same again with the skin detail value. I figure most people would advise against crushing the blacks until your in post but using the stretch feature at a slightly negative value never hurt me and helps squeeze an apparently greater tonal range out of the camera without affecting highlights. The preset white balance at 3200 always looks a tad warm to me but its always better than a user defined white balance (unless your looking to create a creatively inspired look). Always shoot DVcam, thats probably stupid advice but its more robust and I often found mini DVs to be picked apart by the 570, probably something to do with my tape heads but apparently other users have had the same problems. Also DVcam is better... period, it just is. Once when using a 570 during the summer the inside had gotten too humid and the tape got jammed so watch temperature and humidity. If its too cold I would use a porta-brace, its never happened to me but the manual warns of failures in the cold. Batteries die fast on this camera, stock plenty so you can rotate and charge the ones your not using whilst shooting. I think all 570s only have a black and white viewfinder, be sure to set her up properly and keep an eye on a properly calibrated video monitor for colour. I'm probably writing this for my own benefit since Im shooting a short and a documentary on the same camera at the moment and Im relatively new at it so please dont feel patronised by any of the above. Kind Regards David Bradley

Thanks David, just so happens that my Uni has after effects so I'll give that a shot. Thanks for your time.

Do you know of any way to convincingly record in PAL (as it appears I have no option but to do so) and then transfer to NTSC to be edited alongside other footage recorded in NTSC.

Im pretty sure that there are two 570 models, the ws (NTSC) and the wsp (PAL). A friend shoot his latest film in LA and wants to shoot a scene in the UK but he is editing and authoring to NTSC as all his footage was captured in NTSC and has thus far been edited as such. I really dont know my way around the 570wsp and I want to know if its possible to capture in NTSC with it. If so does anyone have any instructions for doing so? Best David

My University has purchased a Z1 with hvr-m25e. I edit of Avid Xpress Pro. What exactly do I need to do to capture, edit and authour 1080p with this kit?

thank you so much for your time Michael, I will look into this but to be honest I cant wait to get onto film.