Dan Durbin

Elaine, I have a Canon HV30 and am very happy with it. It is HDV format. If you are considering some of the Canon AVCHD format cameras, you may want to consider compatibility with your editing system. For example, FCP does not have AVCHD native support.

David: I liked the images (interrogation room with the door in the background, desaturated water scenes), and synch with music. However, I can't follow the story from the clip. Are you planning voice over? This might pull it all together.

Battery life on the Marantz PMD660 Recorder is short when you use a +48V phantom powered microphone (i.e. Sennheiser MKH416). Do others have this problem? I have thought about powering it with an IDX E-7S rechargeable battery pack (14.8V, 4.8Ah), but have been unable to find a converter from 14.8V to the 5V power input on the PMD660. Any thoughts?

David, I tired to look at you video, but get the following error message "Sorry, there is no page with that URL"

Thank you for the suggestions.

Any recommendations on quality laboratories for processing and telecine of super 8mm Tri-X Reversal film? I work with video, and have little experience with film. Thanks,

Matthew, Before you move to AVCHD you may want to investigate compatibility with your editing system. For example, FCP does not have AVCHD native support. Dan Durbin

Can you comment on the lighting? Are you shooting in a low light or back lit situation? Dan

We are planning a shoot in the spring with a GY-HD110 and GY-HD100. The director wants warm tones similar to the look that Giles Nuttgens' achieved in "Bee Season". I have never seen the technical details of this movie written up in American Cinematographer, but the credits indicated that it was filmed in Panavision. The budget will not support film. Is this look something that is best worked in post, or are there filter and lighting approaches that should be considered? We have some time to experiment. Thanks,

Michael and Todd: Thank you for the lead on the ProHD PL film lens adapter. I'll look into this approach further.

Both systems are compatible with still or cine 35mm lenses. The Redrock Micro M2 utilizes the existing lens on the camcorder, and comes in two versions a still version or a PL version. In this system the the still or PL lens is an auxiliary lens, and the original camcorder lens acts as a "relay" lens. The P&S Technik claims to be "optimized for 35 mm film lenses - motion and still". In this case the 35mm lens replaces the original camcorder lens. P&S Technik claims that the following lenses work "perfectly" (Zeiss Master Primes, Zeiss HS Primes, Cook S4 and Zeiss Ultra Primes). However, they claim that all 35mm PL-Mount lenses able to expose the N35 Academy format (22mm x 16mm) will work. I am familiar with still 35mm lens, but not 35mm cine lenses. Any suggestions on cine lenses? Thanks,

We will probably make an investment in the P&S Technik Mini35 adapter. Do you feel this is a better approach than the Redrock Micro M2? Also, do you have any suggestions for the most flexible and cost effective 35mm lens for use with the Mini 35 or Micro M2? Thanks,

We are planning a shoot with our JVC GY-HD100, and want a shallow depth of field (medium and medium long shots with background out of focus). The camera has the standard Fujinon Th16 x 5.5 BRMU lens. I recognize that shallow depth of field is an issue with HD Camcorders. However, does anyone have any suggestions or experience with achieving this look? Thanks,