Timo Klages

what about Aphex Twin - come to daddy (chris cunningham) ? really great! also: madonna - frozen (chris cunningham) nine inch nails - only (who did it?)

i cannot give you any books advices right now but imo, the transition effect shouldn´t be visible at all (or if so, it shouldn´t be as clear as smoke/blurring etc...). it´s about the story and the things in the mind of the character that should make clear it is a dream in the end. also, there are subtles ways to make a scene a little bit "unrealistic" maybe uncomfortable or at least "not normal" in some way for the viewer. but this is not something you need to see but can also be thru sound or whatsoever. i think it is very difficult to make a good dreamsequence without being very "mainstream" so to speak... well, just my thoughts on this topic ;) greets, timo

when checked it will capture at the original framerate (i.e. 60fps) and will not use the flags set by the cam for slow/fast motion. if unchecked you can capture the slow/fast motion via firewire directly from the camera. do a search on avid for "varicam avid workflow" i think... greets, timo

if you are interested in seeing a short-movie shot on D20 (serial number 6 i think) from end of 2005 (still a very early version of the cam back in those days), i could put a version of the movie online i guess. it´s about 15 minutes long (and it´s in german...). the video looks nice but i think it´s always nice to see some outside shots, studio can be quite boring sometimes. greets, timo

there are quite some tools that offer sd to hd upconversion but quality differs very much i think. there was a thread about this, but right now i don´t find it. on the other hand there are hardware tools that do the job, but that will be expensive. http://www.snellwilcox.com/quasarphc/ greets, timo

well, i started to learn editing linear (2/3 machine editing). that´s a pretty good way to learn editing imo, since you really need to think about what you are going to do BEFORE you start editing. logging and stuff like that is very essential i think. after that i started editing on Avid Mediacomposer. i think that is still a very good software and you can start learning with the free edition, workflow is the same more or less. if you have a mac, fcp will be your choice i guess...

that shouldn´t be a problem at all. if you have an avid adrenalin with the dncxel board, you can capture via hd-sdi (BNC connector) to the avid, using the DNxHD codec (DNxHD 220 or 180, depending on 60Hz or 50Hz). i just read an article about the latest movie directed by Ben Affleck (gone baby gone) (link here: http://www.studiodaily.com/filmandvideo/cu...ssue/8704.html). so editing with the DNxHD codec seems to be very nice to have HD preview possibilities. and later on you can make an online finishing on whatever system you like (*fire or whatsoever)... no SD downconvert needs to be done (although you can make a downconvert on the fly with the avid). hope that helps a little bit. greets, timo

hmmm, a few thoughts from me. i did a stop motion project this year with some friend (ended up with a 7 minute short film in HD). We used a Canon EOS-1D Mark II i think. and i would always use a digital SLR for a stop motion project. you have a full-frame sensor (well, at least the markII has one). if you have the chance to do so, do it! you can check out what we did (a little trailer is online by now) at: http://www.vampire-film.de if you shoot on p2, you "only" need a pc-card slot (like most laptops have) and of course the p2-drivers installed. with later avid versions you can import directly from the card in this case... well, hope that helps a little... good luck, timo

since i haven´t used FCP really seriously for editing at all up to this point, i am only answering your last question. basically, for editing purpose, the workflow is pretty much the same, no matter if you use XPress Pro, FreeDV or Mediacomposer. I think, even Newscutter will be the same when it comes to editing. Adrenalin is just referring to the hardware attached (basically it´s the same as MC (mediacomposer)). Symphony is giving you more features for finishing / conforming purposes (great color correction), DS is made for compositing and finishing purpose (it once was Softimage DS). SO, basically, only DS (Nitris) is different from all the other Avid´s that basically give you the same Editing interface with different features (like more video and audio tracks, better timewarps and so on...). i hope that helps a bit...

there are some software tools that may be able to do the job the plug ins: Digital Anarchy Resizer 2.1, Red Giant Instant HD 1.0 and Topaz Enhance 2.2 Standalone: VideoEnhancer 1.3 there was a test of those tools in the german magazin "digital production" some time ago. i think they got some nice results but i don´t remember the exact test-results. could check em out later this week if needed! hope that helps, timo

i encountered a problem when i was transcoding material that was shot in 720/50p to an project that is 1080/50i. the resulting material was sort of "zoomed" in and shifted to the upper right of the picture. this only happened when transcoding from progressiv to interlaced. i am using Media Composer 2.7.2 (with and without Adrenalin and DNXcel Board). is there any way to transcode p to i without these "effects"? thanks a lot for any help! timo

are you "only" looking for a list of really big feature films or also short movies that were shot with the Arriflex D20? , Timo

thank you for the fast reply! greets, timo

I already read in some other threads about the HPX500 and HVX2000 and so on but one information that i am still missing is about the sensors (ccd´s) in these cameras. the panasonic homepage tells me, that the HPX2100 has an "active" resolution of 1280x720 pixels that are used and recorded so to speak. but i never got a reply from panasonic when i asked about the sensor in the HPX500. can anyone tell me, what kind of sensor (actice pixels and so on) is used in the HPX500? i am still wondering why there is such a great price difference between the 2100 and the 500. thanks for anyone who can help! timo klages

interesting! what format do you record in this case? raw-file format (like the D20 can do with the fraunhofer disk recorder)? and is the difference really so big between uncompressed files and, let´s say, HQ-mode when using the SRW-1 considering the post pro?

in general, you can hook up any camera to the SRW-1 recorder that has an HD-SDI output (or even better, a dual-link HD-SDI). not only sony... greets, timo klages