gnasr

What do you mean by "color smoothing 4.2.2"? How did you do it? recording with a Beta SP or DVCPRO deck?

Not if the images were recorded using the DVCAM mode. The tape runs faster in this mode and you have a weird image when you play it back on the DVX.

Rabjohn, I'll try to answer as many questions as I can. First I think the FX1 is a VX2100 equivalent in the hdv world. To make an upgrade for the PD-170, you should look at the HDR-Z1U that has pro audio and other pro features. The FX1 itself is a good camera with higher resolution than the PD. And yes, it has a native 16:9 CCD. The FX1 shoots only in minidv and hdv formats. You would need again the Z1 to record on dvcam format. Dvcam records at higher speeds and have audio lock feature. The PD's progressive mode sucks! HDV will only play in HDV decks, but it downconverts in camera and you will be able to watch it in any TV set. gnasr

well, the daylight spools are plastic made... if the loader held the reels by the plastic spool just once, then a slight opening would fog or flash the film. I never trust these spools and load them in the bag.

These a very good stocks, but they are all low contrast ones. If you're going telecine and video you can crush your blacks and make it look contrasty. To increase contrast, color saturation and grain, you can use push processing on a 100t or 200t stock. For the glown matter, try a promyst, but this will add diffusion and decrease of contrast.

The main problem is you'd have to chop up your negative. You usually can insert 6 frame strips in a negative scanner. So you would have to cut 1 second of film in 4 strips... imagine for an entire 4 minutes reel! Oh man this is a hell of a job. It should work though, but a think it's better with a negative scanner that has a tray.

I did a comercial once with a little kid inside a big bath tub. The same place that rented the underwater housing for the aaton minima, rented a water resistent lightmeter that would compensate for light loss underwater. As far as lighting is concerned, have a big hard light source coming from outside the pool. I think most swiming pools have their own lighting fixtures. Try to make them stronger by changing lamps.

If you want it to look letterboxed in a standart 4:3 TV. just shoot it 4:3 and apply a mask in your NLE's software. Turn the widescreen mode on your camera and place marks on your lcd screen or monitor, then frame it inside the marks.

Try the Minolta Dimage Scan Dual IV selling for $239,95 at BH http://www.bhphotovideo.com/bnh/controller...u=310893&is=REG I have the III version and it really rocks. Just shot a short movie which had some stills on it... I scanned the stills with the Minolta and transfered to Fuji 125 and made a print of it. The print is amazing with a lot of detail. It's worth the price.

Come to Brazil! You have beaches, very nice landscapes, nature and culture shock for sure... very poor people and favelas right in the middle of the mid class city. And you have a wonderful light all the way. You can go to the Amazone or Iguaçu Waterfalls... Big country with diferent and exciting places to visit. Don't forget the women!!! Well I've also been to Lebanon, nice country... lots of ruins and mixing of ocidental and oriental culture. There is also echoes of the war.

Just went through shooting and telecine routine. I must say that I'm really impressed with the sharpness, latitude and grainless of 7217 Vision 2 stock. It looks like 35. The video ended up in b&w and the look is amazing. Exposed the neg as 160 ISO for a slighty denser and grainless image and got the contrast higher and some highlight defocusing in post (da vinci 2k). This stock is really low con and it has information from 5 stops under. I'll try to post some pictures in the next few days. Thanx again for the inputs in these forum.

What about grain? Will I have more grain on those really bright areas of overexposure? Do you guys recommend overexposing the neg by 1/3 to get a denser negative with more shadow detail? Your inputs will be very useful next friday... Maybe I can post some of the results in this forum later. Thank you all

:) Thank you for your help! So, I guess I must use filtration when I shoot outside. It's better to work outdoors with 125 ASA or less. For indoors, I need all the sensitivity the neg offers me, so I will just assume the blue from the windows and if I go color someday I color correct, right? Last question: Going 4 or 5 stops over don't make the white spread trough the negative? and of course I loose detail over that areas, right? []s

Thank you very much for your help... It wasn't in my plans to gel the lights or the windows. Should a worry with color correction even going for b&w? There are some exterior shots, should i go for an 85 in front of the lens? I don't really know if it could affect badly the exposure or contrast. What is the drawback of shooting without correction? The thing is we got 2 rolls of 7217 from Kodak for free, and the band really likes b&w. Thanxs again

Hi everybody... i'm really new in this forum, just registered yesterday. I'm shooting a video for a rock band in Vision 2 7217. I'll be desaturating the colors to get b&w. We'll be shooting in a very old hotel room with big windows and the director wants to shoot against the windows to get some silhoute look, but still with shadow detail. The windows are not a problem cause they face some trees and a wall, not so bright. It's ok if the windows expose for 2 stops over to get them white and the skins 1.5 to 2 stops under. i was thinking in getting something around f2.8 to keep shallow depth. We cannot turn on big wattage lamps, cause the place is really old and would not support, or afford for a generator. So, for the wide shots i would bounce 3 1k fresnels on the oposite wall, for the fill and let the windows make the key and backlight. Is that a nice guess? I'm affraid is not enough. For the close ups, i want to try a chimera with a 1k fresnel close to subject's face. would it be too little light? how many stops i loose with chimera boxes? any other suggestions? This is really low budget as usual, i'm a student, just 3 works as dp on film, some experience as focus puller though. I'm from Brazil, so excuse my english. I'll go telecine. ah, and the room is about 20ft wide from wall to wall. I have some other grip to use as flags, reflectors, etc... thankx