warner brown

Thanks, I didn't think of that. With the jvc I'm (going to be using) the redrock M2 adapter with a wide 2.8 nikkor lens. I'm not sure though if that could pull it off, but thanks for the info.

hi all, I saw the other big sun thread a couple pages back, but I have this very specific shot I need. A giant sun at dawn just meeting the ground, a big sun closeup with the heatwave effect prominent. Like the moneyshot you'd see in a national geographic doc..I don't think I could shoot this myself. I'd maybe just buy a dvd from discovery and use a shot that I can manipulate for the context I'm going for? but that's not public domain, and I don't want to pay a paycheck for a shot of the sun either. :unsure: Maybe I can shoot it myself from a beach with a jvc-hd100, but getting the natural/closeup heatwave effect is important, you couldn't replicate it with CGI, though I will be blending a CG element into the heatwave (a ship). I've seen this sun visual before, I think I might have to go stock footage with it somehow. I know this is specific, but any ideas or helpful links, much appreciated!

Finally after researching for months I've settled on choosing to buy the JVC cam intended to go with m2 adapter. My producer wants to buy to a couple so I've been searching around, and this seemed like the most ideal package, http://www.bestpricecameras.com/326810-243305-1.html But too good to be true, after checking up on that site I learned it's a scam out of brooklyn. I will probably contact a jvc dealer in my area. However if anyone knows of a good deal on the hd100 camera online from a trusted source do throw up a link! Have a good afternoon all, -Warner Brown

it doesn't take a long time to learn how to light with film, it's a matter of simplicity. all you have to worry about is how bkground and foregrounds are lit. I never took a lighting class but took 3 cine classes, lighting is easy and it doesn't take too long but that all of course depends on what film stock your using, but it doesn't take a longlong long time.

Would it be any different with a PAL camera, or is there a way of getting around the vertical res loss on NTSC?

i've never taken a lighting class, but make sure your set is completely cut off from all light, so you have a more controllable situation you can 'lighten' and darken in. I'd hang a single light or bulb or two swinging on a string from the wall directly above the band playing in the foreground, so they're semi-lit casting shadows/visible but not. put a really low, subtle edge light on the background set, so it's barely illuminated but still dark, that way your foreground and background could have good contrast for a horror film look. then you could always color grade it in post.

wow, thanks for the info. What kind of lens mount do you use to achieve that? if you can get the same short depth of field from 35mm still lens on an fx1, that's pretty awesome. i'd love to see some examples if you have them.

I'm planning on purchasing a sony FX-1. I intend to get the mini35 adapter later, but since film lens seem to be so expensive, would anyone know where you could find used/affordable film lens? or are there any cheaper alternatives that could yield similar results? This is probably an ignorant question but why not just use a 35mm still camera lens? I assume (1. it wouldn't be compatible with the adapter and (2. still lens don't work the same way as film lens w/ motion, etc. anyway, was just a thought -warner brown

this is probably a stupid question, I've been looking into the mini35 and since 35mm lens are quite unaffordable do you know if the mini35 is compatible with regular or wide digital lens for an FX-1, and could it yield similar results?

I recently read that it's much better to shoot normal at 60i then deinterlace. heres a quote; - If you'd really have to choose between the two, choose 60i. De-interlaced in post works a lot better than CF24 which is just doubling frames etc. so you get uneven motion. Also, in 60i you leave more options open. - hope that helped

I think i figured what i need to know someone can delete this thread now thnx,

god knows what i was drinking that night. I was just being sarcastic. :P

did someone just cough? :blink:

do all that crap in post production. final cut pro, don't worry about 'camera settings'

dickks

Good afternoon and Hi all, I'm new to the HD world and am considering buying an HDR-FX1. I understand it doesn't have 24fps (or '24p' whatever the difference is, i'm lost on that part and will have to read up on it), but this seems like no problem since once imported into Final Cut pro, I could export the footage as 24fps right? However, would it serve framerate accuracy to find a 24p converter instead, and if so where could i find one? I think there also is an XLR converter you can buy for the camera, but i'm not sure. sorry for all the questions. I'm cautiously shopping to make sure i get the best piece of equipment possible for the price, I'm not sure where i should go either for the best deal. The FX-1 was highly recommended to me, yet i've heard it's not great for a film look, more of a soap op look but that all depends on it's application of course i assume. I'm keeping my eye out for alternatives. Would anyone have other camera recommendations, or is the FX-1 pretty much the best thing? (if i wanted to shoot shorts films/features etc.) and retain as much of a film look as possible? under right lighting/set conditions obviously. def would appreciate any comments/suggestions or links! thanks! warner brown

It was my first real shoot i suppose, shooting a short film about a backward world, where everything is in reverse. I shot color 16mm on a bolex, lugging these unecessarilly heavy gigantic things around (with tiny little bolexes in them) location to location/paint me a river ok? we busted our asses to get everything.i unloaded a roll or two that came out of the magazine in zigzags. when the surviving film was transferred and came back, alot of it was underexposed,too dark, and completely saturated in red. none of the footage was usable. I then found i had ironically ended up loading a couple (if not all) rolls into the camera, backward.

I have 400' feet of 35mm film, 4 or so minutes, but if I shoot my whole film at 12 fps, could I not later adjust the frame rate in post with Aftereffects from 12fps to 24 fps, so I end up with 8mins of footage? I was thinking it would introduce some flicker, not sure though. that'd be great if it worked/ and I'm new here, Hi all Wb