Timo Klages
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Posts posted by Timo Klages
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Well, I'm still very interested in the D20/21. The optical viewfinder, shutter, and 35mm sensor still make it a system I'd look to on a bigger budget shoot. Packages w/ Primes/Zooms are still around $5-6k I believe from CSC.
Haven't heard much about it being tether free, like the F23 with the deck on the back like a mag.
Anyway, here are a few more videos shot with the D20.
Janet Jackson - Dir. Joseph Kahn
http://www.youtube.com/watch?v=FGB4tbYoeaQ
Dude N Nem - Dir. Morocco
Matt
hey Matt,
i haven´t been active here for quite a while but now i finally have some clips on the internet from shots with the D20 (from 2005) and the, well, D20.5 i would say, from early 2008.
the one is in 720p flash format at Vimeo
it was my first time to shoot with 35mm and all that equipment (and i was only one of 3 peopler doing the camera work on that flick...). not really perfect but nice to get into it.
the second one is a music video i was doing some shots for. i am not that impressed by the results from the compositing though...
www.hoehnrausch.de
Greets from Munich,
Timo
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The fact that it's Quicktime or AVI has nothing to do with it; either is capable of storing HDV.
Hi Phil,
I'm not sure if we're talking about the same thing here. I have had no success playing an HDV (format) Quicktime movie on my PC.
The point of my post was more in response to the question about computers being used for editing. I'm researching a new computer myself and I'm finding that the mac seems to be more ubiquitous when it comes to High Def film/video editing and formats (outside of Avid). I'm sure individual results vary, but hey that's me :)
Tom
hey tom,
what computer to get for editing is kinda connected to what kind of video formats you are going to edit on it...
a mac-pro is a neat machine in combination with fcp... but not very cheap as well imo.
if you want to have more options considering the software you use, i would go for a pc. avid is available for both platforms once again i think, but i would go for a pc here as well. if you can spend the money, get a avid certified hp-workstation.
although you can really put together a system on your own.
my system at home, 2 years old i think by now, is an core-duo 2.1ghz, 2gb ram (more would be nice), lot´s of HDD, an nvidia7600gt and firewire ports... works pretty fine for PAL editing. and even compositing with some 1920x1080clips is working, but rendering takes time.
i even use an external (esata) hdd for some pal-editing since i need to carry those things around from time to time and that works very fine as well (dunno how that would perform with usb or firewire).
greets,
timo
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yea figured haven't made any calls yet, i have the footage in dvcproHD now too so no mxfs or anything, anyone should be able to handle the dvcproHD.
sorry for not getting back to you earlier. i think phil is right when saying that you should contact some post-houses to solve your problem.
so you can keep on editing and later just replace the dirty with the hopefully clean shots... but don´t expect miracles!
greets,
timo
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THanks dude
you are welcome!
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At the Studio that I work at we are working 2k footage and we are down converting to 1280x720 since the projector that we have to show our work is 720p, but I keep wondering what are the differences (besides the obvious ones) between the 2 formats?
thanks
so you want to know the difference between 1280x720 and 960x720?
i would say that the 960 format uses a so called thin-raster while recording. so the original 1280 are downsized to 960 for recording (like hdcam is doing from 1920 to 1440). when it is played back, it is upsized to 1280 again so you have a norm. hd-signal once again. but using this thin-raster is for sure cutting some quality.
,
timo
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Ok, so I have some HVX footage with a good deal of noise....it looks as if the gain was turned on (in daylight) to around 12db. Does anyone have any ideas for either places that specialize in this or things I can do to help remove this awful noise so we can use the footage alongside other clean HVX footage.
thanks for any info!!
-Jake
maybe you can try to fix this to a certain amount with some good software.
PFClean would be an option, as well as some other plug-in sets (maybe there is something from "the foundry" to denoise, i think the "furnace" package has something like that). but i cannot say that this will look as good as your "clean" footage in the end.
althoug, these tools are not cheap...
do you have some screen-grabs to take a look at the problem?
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timo
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It is such a bummer to watch D20 footage on youtube.
yes, you´re right on that. what would someone expect to see on such a tiny, hard-compressed video?
if someone is interested, at the "Medianight" from the Hochschule der Medien (HdM) Stuttgart, Germany on the 26th of June, there will be the premiere of a music video shot completely on the D20 with a lot of virtual set and particle simulation from post. will be screened digital on a big screen in HD of course.
greets,
timo
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Hmm, well maybe that's the case if you shoot for RAW output, like with the RED, F23, Viper, etc. I work on my first RED shoot this Sunday, so I'll ask the DP how he feels about the issue. I can tell you that with HD shoots on F900R, Varicam, HPX500 type cameras where the image needs to be painted in-camera by a tech, we most certainly use waveform and vectorscopes on set to judge exposure and chroma. Not doing so seems rather irresponsible, like exposing film without a light meter (unless you're Henri Alekan or Douglas Slocumbe that is!).
well, i have only been working with the Arri D20 a few times now but i was more than glad to have an Astro HD Waveform Monitor with me. Of course measuring the light to see what stop you should use is a good thing but i am more comfortable with a wave form and it really shows me, what the camera is recording.
but i have a more technical / broadcast background as well ...
greets,
timo
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That's very interesting, thank you. I think the Genesis is probably overkill for my project - I've been interested in working with the F23 so maybe this will be my opportunity.
Does anyone have any experience/comments on that camera? I know it was used for the exteriors on Cloverfield.
Tx, BG
if you don´t need tape you could also mount a data-recorder like the MegaCine to a cam (like viper, d21 or so).
but i never used the f23 so far, but it seems to be a nice cam. you can also do slow-motion stuff with the srw-1 attached.
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I dunno, I haven't seen any HD cameras save the CineAlta able to pull off convincing B&W as of yet, but I've only worked with a few HD setups (HVX200, Varicam, FX7, XL-H1). At a 1.66:1 ratio you could shoot it on standard 16, which would save you cost on telecine and editing as well as having less expensive camera setups available. The key in all of this, weither film or HD, is to use vintage lenses or ones giving you the vintage contrast. Nothing ruins the illusions faster than things being too sharp, not contrasty enough, the lens flares...
i´ve seen a very convincing black&white music video project shot with the Arri D20. It was shot in 4:4:4 uncompressed.
but that´s not cheaper than shooting on film i guess...
greets,
timo
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ARRI D-21?
in ARRI
On Reduser someone mentioned that Arri were going to announce the D21 at NAB and it was going to sold rather than rented like the D20.there was a workshop this month near munich i think. some people from Arri were going to tell something about the D20 Plus.
I was asking a guy at our university about it (since we have a D20 at our school), and he said, that it might be something that heads towards a higher resolution and things like that. but about really selling the cam i don´t know. sorry.
greets,
timo
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hey there,
i was wondering if it is possible to use the P+S Pro35 adapter on cameras as teh HVX200 as well (instead of the Mini35).
this may sound a little bit of an weird question but since we have some "big" camcorders (all 2/3") and some hdv/dvcproHD camcorders (1/3") it would be nice to only buy the Pro35 and be able to use it with all the camcorders.
thanks for any hints on this!
timo
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Basically they said in DV mode it is PAL but in HDV mode it is either 50i or 60i - there is no PAL or NTSC....This doesn't sound right to me but as I said my chinese is really basic so I can't question them properly...
I am therefore assuming that if I set the camera to 50i it is in PAL mode...
Is that right?
Thanks!
well, they are right when they tell you, that there is no PAL or NTSC mode in HDV. PAL refers to an Standard Definition Signal (720x576 or whatsoever) and not to an HD/HDV or what ever signal.
BUT, in "PAL"-countries you would still need an 50i Signal (or 25p) in HD mode, since the framerate kind of was kept from the PAL world. so, when you shoot in 50i HDV, that would be no problem at all to be downconverted to PAL since it´s only a downres. not framerate change needs to be done. but if you are asked to deliver PAL, then it is a SD-Signal.
hope that helps,
timo
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I'm interested. Post away: set photos, grabs, etc. I'm still waiting for a job to pull out a D20 on :lol:
hi matt,
i will post some material as soon as i get it. rough-cut started this week so i think i will get some within this week (hopefully).
greets,
timo
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has anyone found a manual in either english or german for the d20?
actually it is hard to believe that this incredibly simple menu supplies all you need but still id like to see if there is more behind that.
unlike so many cameras of the digital kind the d20 is just such a robust beauty. i would not trade it in for all the varicams and cine altas on the whole island of japan, that is not even a comparison. and not either for one of those red's that still no one seems to have seen yet.
dear anna,
i know that there is a manual for the D20 since i was holding it in my own hands on monday. but i do not have any digital one and i do not know if it would be legal to spread it. but i can ask for sure if you are still interested.
but i must say, that the D20 is not that complicated at all. the front part is exactly the 435, so if you can handle that one, you can work with the D20 front part as well.
problem is, that the front part is not communication with the digital part at all. so you can make some settings, that won´t make any sense at all.
the digital part is not that complicated as well (my opinion). the only thing you need to know is what the different "ISO" setting really do (compression in the highlight etc.)...
greets,
timo
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Hey there,
i was just in studio for 2 days, shooting the blue-screen part for a music video.
Interesting shooting for me, since it was the second time, using a D20.
Equipment used was;
Arriflex D20
Zeiss Ultraprime set (16/24/28/32/40/85mm)
Megacine Harddisk-recorder (only first day, then it screwed up somehow)
a lot of light
a lot of "dirt" for the ground
panther dolly/jib
the shot was done in 4:4:4 uncompressed 1080/25p. massive post-production will take place (particle systems, set-extension and so on).
if somebody is interested i can ask to get some stills, before and after screens and so on.
more information on the music-video:
www.hoehnrausch.de
greetings,
timo
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It's a nice camera in a lot of respects, it's got an optical viewfinder which is cool, but it's got problems like everything else. Apparently at some point there were problems with the CMOS sensor changing sensitivity (and probably noise level) with temperature changes, which may be a weakness inherent in CMOS technology, I don't know. It's less of an issue with still cameras, so I'm not sure whether there have been any problems like that with Canon/Nikon DSLR's or if anyone's noticed it.
hey mike,
regarding the temperature issue, that´s why the D20 has some kind of regulationg system that keeps the sensor at 32°C all the time i think.
but about changing the sensitivity of a sensor... correct me if i am wrong, but a sensor has a given sensitivity that just is as it was manufactured. it´s like using a sort of film stock.you cannot change it. you can change what´s happening after the sensor (or the film stock) like gain or whatsoever to change the ISO rate in some way. but you will not change the sensors sensitivity.
greets,
timo
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The camera can do more than 30FPS. I think the problem was with the SRW1 deck (depending on which quality setting you were using).
JB
well, the sensor is supposed to handle up to 150fps bubt when i had my handy on the cam, 30fps was the max one could choose in the menu (and yes, the srw1 deck was the other side that couldn´t do more).
it may be, that using the Megacine recorder, you can do more than 30fps. but i am not sure, if the current software version the D20 has right now, supports more...
i could ask some people at our university (since we have a D20 there...)
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Maybe it would be worth getting in touch with Arri and asking about the D20 tho. I mean if it's not out there much at the moment, then maybe you could cut a really good deal with them get it cheap and make it happen. *shrug*
that´s not such a bad idea at all!
i have used the D20 some time ago at my university and liked it very much. but i am not sure if you can do more than 30fps with the current sofware version. so, if you want to go for slowmotion effects done in camera, the D20 is perhaps not your first choice.
but hopefully i am going to shoot a part of a music video on a D20 (the green/blue screen part with the band) in february. the look you can get from this camera is really nice imo, but it´s not looking like film (well, perhaps it is, when you print it out...).
greets,
timo
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When it goes from 4:4:4 to 4:2:2, does it also go from RGB to YUV? Or is it always YUV?
Phil
yes, it goes from RGB (4:4:4) to YCrCb (4:2:2 in this case). afaik, 4:4:4 is always RGB altough the Digital Factbook by Quantel says, 4:4:4 can also be a ratio for the luminance and color difference components (Y, B-Y,R-Y)...
greets,
timo
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Thanks Timo. Was there anything in particular you didn't like about the hip hop stuff?
The song is imogen heap "Hide and Seek". The beat was put on by a buddy of mine and same with the guitar at the end.
hey chasey,
after the girl on the playground scene, there is this guy "rapping" into the camera. it´t not bad at all but it´s not so breathtaking as most of your other shots. the breakdance scene are great!
so, the original tune doesn´t have the beat? damn :) it fits pretty well to your reel!
greets,
timo
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i really like your reel!
i am not so much into the hip-hop music video scenes but i like how you play with the light (and the sun to be more precise)! the snowboard scenes and so on... very well done!
a little question: what is the name of the song/band you chose for your reel? i like that one a lot :)
keep up the good work!
timo
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This a little unrelated but I was told a few weeks ago that Aardman has been using digital stills cameras for work on their television work for a little while now. They have the camera hooked up to a computer for immediate capture.
Interesting, I wonder how many 16mm and 35mm animation cameras have been made redundant.
isn´t that quite obvious? we made a stop-motion short movie at university early this year and used a nikon D1 markII. since this model doesn´t have a live view (that is really important when shooting stop motion if you don´t want to take a picture for every little move you make) we used a Zig-View (i think that is the name), a littel camera that you mount at viewfinder for a live-picture. and then you start shooting, directly to the pc with immediate control of what you just did (and of course the RAW-files). pretty straight forward if you ask me, (although we had to programm the software for preview and animation-preview ourselves).
and you have a very nice resolution in the end when you use a high-end digital SLR-camera.
greets,
timo
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New Sony F35
in Sony
Seems Sony has a new camera in the wings.http://www.sony.jp/CorporateCruise/Press/200711/07-1120/
There's some debate on CML if Sony has fitted Bayer or a Genesis style sensor.
can you read anything on that website apart from f23 and f35?
greets,
timo
shooting 4:3 on pmw EX 1
in Sony
Posted
dear rick,
i don´t know about the Sony EX1 but you won´t be able to shoot 4:3 in any HD mode since HD is always 16:9 by specification. you need to shoot in SD and maybe than the Sony will give you the possibility to do this in 4:3.
if that´s not possible you may crop the VF to 4:3 and do your job and then crop it the same way in your editing software and deliver a 4:3 video to you customer.
hope that helps a bit.
greets