Joe Black

Welp, got the book. Well worth the money. Goes into detail of what every single menu function/button does and what will happen when you tweak them to a certain way. I think anyone can benefit from this book. The DVD is alright.. goes over some basic stuff, mainly good for showing actual examples side by side. But the knowledge is definitely in the reading.

I think this guy pretty much did it as good as it gets as far as home affordable greenscreen techniques... http://www.dvxuser.com/cgi-bin/DVX2/YaBB.p...;num=1096268069 You should ask this guy. He did a pretty damn good job with this shot.

Hi Alvin, thanks for the feedback. I guess I will just shoot 4x3 until I get the lens. I'd rather get the best quality I can.

Hey all, I have come accross an Amaorphic adaptor for an alright deal on my DVX100a. Debating weather to spend the $650 on it. My finished product Will be DVD. I don't really have any intentions going to film anytime soon. My dilemma: I shot a friend's wedding this weekend. 4x3. And well... he has a 50" widescreen HDTV. I already edited the montage and watched it on their screen. There's "fit". "wide screen", and "normal". Wide screen stretched the image to the edges obviously. FIT covered the screen but chopped out some of the sides. And fit... well fit did what it did. Unfortunately, the image was almost square and left the wide screen sides open. This occured to me that alot of my friends have this type of TV now. Of coarse it'll be more popular as time goes by. If I get that 16x9 adaptor... do I record through the camera at squeeze modeor standard 4x3? If the answer is 4x3... I assume the TV will want to stretch the image again. Will quality on squeeze mode be that much a loss of quality if I don't decide on the adaptor? Again, the final output of most my project will be on screens no larger than these 50-60inchers. I don't care for too much artfacting/distorting along the edges as people mentioned. I can either live with it or scale them out in the editing phase. Thanks in advance.

Final Cut Pro can de-interlace. It's not too bad. I've only used it a few times on clips I thought were hopeless. But they were good enough for client after I used the filter. But if I had the choice... (which I will in a couple of weeks once I purchase it) Is this man. Graem Natress. http://www.nattress.com/ For $100.00 you get the ultimate affordable standards conversion software. I saw some tests done with this stuff for motion pictures... and I must say that I was VERY impressed. Only downside from everyone I know who's used it... RENDER TIME CHUGS.

I found what I'm looking for. Barry Green made a DVD which shipped a couple weeks ago and included his 100page manual specificially for the DVX 100 cams. http://www.dvxuser.com/articles/dvxbook/ Everyone who's ordered seems pretty happy with it. I just ordered it. I'll post a follow-up later.

If you have $1800 to spend... http://www.realviz.com/gallery/list.php?product=rt It's awesome. My friend got his under $1500 I think? Try calling them if you have the dough.

Hi, I just got my DVX 100A!!! I shot surfing footage with it Sat and Sun . The footage looks awesome to my eye. But I know it could be better. I only used the F5 setting with adjustments by ATW, manual IRIS, and shutter speed. And I know there's much more to it. I have a general idea of what settings to use when shooting(shutter speed, iris...), but nothing set in stone for that perfect setup. My background is editing and 3D animation. Aside from all my photography classes in college, was wondering if there was any published literature (aside from the manual that came in the box) of recommended system settings & different types of setups in different lighting conditions? Or a general guide regarding setup in the DVX 100A. i.e. recommended settings for outside, indoor lit, low lit, etc... Can't seem to find too much on it.

Ok, The camera was used mostly in classroom settings and sitdown interviews. And random B-Roll throuhgout the city. Never near beach, dirt environments. No scratches or blemishes. Only thing changed on it were some factory settings like gamma curve. (which I assume can all be set back to default?)

Hey thanks for that. Didn't think about that stuff. I will ask the seller!

Hi, Is a DVX100A w/70 hours on the meter alot for a used camera? The asking price is $3200 no tax. w/ extra long life battery, 72mm filter, bag

My background started on UNIX & PC special effects animation/highend 3D software about 8 years ago. I've gone into film editing the lats 2.5 years. I am not a PC vs. Mac guy. But I am speaking solely from my opions of actual use. For 3D, special effects, and games... I say PC. for editing... go Mac. Yah, you pay x2 as much for RAM depending where you get it... but overall power when it comes to Mac now-a-days is pretty strong with Final Cut HD. If you are planning just doing everything via firewire... then definitely look into that route. I know too many people who pulled their hair out with trying to go low budget on an editing system for PC, and they just never cut it unless you have a $15,000 avid setup with exact hardware. I have many friends who use Avid setups at work, but at home use Mac. If you really want to build a PC for editing... I really suggest talking to people who have PC setups that actually run production work which are not AVID. Get their exact system setups which they run Adobe Premiere and After effects on. I wouldn't rely on internet forum BBs for opinions unless one of the people who are pro-pc actually has a functional PC setup non-avid based.

If you guys had a HD post facility at your disposal, would you get the FX1? Or should I stick to the DVX 100A? I will be renting the FX1 in a couple of weeks once it comes available to test it out.

Only if you want it to. You have to change your settings. If you're just capturing w/ Firewire, just use 3:2 DV and don't check the anamorphic box.

Thanks for the feedback. I looked into HDV & looks like it's something I won't be getting into anytime soon. Just everything in general is expensive to get an HDV setup going.. .monitors etc... more & bigger Hard Drives, even the stock is expensive. I am pretty much going to buy a cam sometime before the Spring which I can take with me on a 2 week surf-trip to Indonesia. So I was interested in HD since for the most part, is becoming affordable. But most people I know, don't even have an HDTV, or plan on getting one anytime soon. I saw the quality from that Sony FX1 though... amazing stuff. You could see the fuzzy hairs off a fly from 5 feet away on that thing.

Hi folks, I'm caught in a dilema. Originally, I was decicing between the Sony PD-170 & Panasonic 100a. Was considering the XL1s, but there aren't any affordable underwater housings for the XL1 series. But today, my friend told me about the JVC HD10U. However, I haven't heard much about this camera and can't seem to find much talk about it. Was it under-rated? Or just something that isn't worth considering in terms of overall quality/functionality?

I have a chance to get an XL1-S for under 3K with alot of accessories. (Batteries/Tripod/XLR rear mount etc) Has only a few hours of tape run through it. I was looking into a PD170, VX2100, or the DVX100A originally. Should I consider the XL1-S? Or go for the new breeds?

is this contest open to people who work in the industry? Looks like it's fair game as long as you don't know anyone/related to someone who works for HP or shockwave? ____________________________________ Contest is open to all legal residents of the 50 United States, the District of Columbia and Canada, excluding Quebec, who are 18 years of age or older except the employees, officers and representatives (and members of their immediate families and those living in the same household of each) of AtomShockwave Corporation, Hewlett-Packard USA, their parents, subsidiaries and affiliated companies, advertising and promotion agencies and any company involved in the design, execution, production or judging of this promotion (?contest entities?). Void where prohibited. If you are a minor between the ages of 13 and 17, and want to submit an entry, your parent or legal guardian must submit your entry on your behalf and in the event such entry is judged a winner, prize will be awarded to the parent or legal guardian submitting the entry. ____________________________________ man... $15K sounds like something I can sure use.

I work in a Post Production house in Burbank. During season, we see alot of indie work & student work. The most impressive stuff I have seen in terms of "film quality" has probably been the reels I have seen coming from USC. I've seen a couple from AFI as well. And they look very impressive as well. The quality of their final projects is definitely film quality. But then there's those guys who walk in, have a $2000 camera/editing system budget who did it all on their own, which can be pretty damn impressive as well. But that doesn't mean the stories to their movies made any sense. I have to watch movies/shows all day. But I would much rather watch an okay sound, Sony TRV900 shot edited on Final Cut Pro 2 movie that made sense and had a good story on a VHS, over something shot 35mm with perfect lighting & color correction post processed, edited through Avid with a $#!TTY story on a digibeta(or just one of those "artistic" movies you are supposed to analyze) any day. My schooling was 3D animation. The only thing my schooling was good for was showing me what competition for a job will have to be. In the end... most the "work" experience I actually used and did, were much different techniques than in school. In school, stuff is handed to you. But in the real world, you might have a 1-hour show you've been editing for 2 weeks... and the hard drive crashes a day before deadline... "what are you going to do?" Now that to me is the best schooling experience. I say, get to know as many people you can in the field you want to get into... because I think (especially in Hollywood) if you get a job, it'll be because of someone you know or were referred by. I don't think I know a single person in the pre production or post production biz who got a job just by walking in the door. Everyone I know, knew someone.