Matt Irwin

The "p" just means it's the PAL version; however, Panasonic is releasing the DVX100B within the next few months.

The Micro35 can only be ordered from it's manufacturer, Redrock Microsystems. I think it sells for around $900 for a full "indie" package. They just started producing those things so expect to wait a few weeks if you order one.

I'll third that!! Same with rap. Here's some of mine: Reverend Horton Heat, The Who, The Band, Hendrix, Zepplin, Stevie Ray Vaughn, Tom Petty, Robert Plant, Radiohead, Coldplay, The Living End, Weezer, Miles Davis, Johnny Cash, George Thorogood, Massive Attack, The Code 46 soundtrack, Blue Bros. Soundtrack, Buena Vista Social Club, The Pogues, RHCP, Flogging Molly, Seu Jorge, the list goes on and on...

Chris, I still have an XL-1, and it still serves me well. I've shot stuff with that camera that people have mistaken for 16mm (viewed on a TV/digi projector). My usual recipe with the XL is -3db gain, Frame Mode on, 16:9, and 1/60 shutter speed. For lenses I just use Canon's XL 16:1 and 3:1 zooms, though I'm thinking about getting that Micro35 adapter. If you light it like you would film and keep the DOF short, you'll be able to make some pretty convincing images on an XL1.

Has anybody here used the Micro35 adapter from Red Rock Micro? I've been thinking of buying one to use with my Canon FD stills primes on an XL1, and eventually one of the new HD cams that have come out. Just wondering if there are any issues people have run into...

Are there any Canon reps here? If there are, could you comment on why Canon chose to not include progressive or 24? I'm assuming the $12k price tag is due to the glass and ccd... but JVC and Panasonic both got their cams under $10k, so what gives?

hmm... I must say I'm a bit disappointed. No 24p, interlace only, $10k+, HDV instead of HD... This seems like a rushed design... but I won't say more until they release a spec sheet.

You don't need a high end meter to make better images. I use a studio studio deluxe and I know at least one ASC member that uses the same meter. Conrad Hall Sr. used a classic spectra- that design hasen't changed in decades. As long as your meter is calibrated and you know how to use it, you should be fine.

If you're using Final Cut, Premiere, or After Effects there is always the built in color correctors. If you want a bit more control, Synthetic Aperture makes a app called Color Finesse that plugs into those programs. I've been using it with Final Cut for a while now and I'm quite happy with it. The scopes are far better, you can do RGB, CMY, HSL, curves, etc, as well as secondary. They are supposed to release a stand-alone version soon, but right now it just plugs-in. There's also FinalTouch, but that's whole different price level...

If you're in the LA area (I see that Johnhollywood is not though), Visions In Color is a much more afordable Kino alternative for tubes. Kinos tend to run aroud $40/tube while Visions In Color is around $10/tube. There are also Optima 32's and Vita Lites, but I'm not sure if the company that makes them still exists.

Exactly. I'd say that contrast and seperation are the two most important things when it comes to good looking B&W. Seperation could be with light, focus, color (complimentary colors of the same value, for lack of a better term, will render the same shade of grey), or any combo of the above... unless you don't want seperation. I shot a B&W film with an XL1 and then desaturated in post- the results were wonderful. A little bit of crushing in the shadows goes a long way.

I have a Manfrotto 519 that I use with DV and SD cameras and I love it. Supports a max payload of 22 lbs. As stated above though, a heavier head such as the O'Connors mentioned or a Cartoni Sigma would be better for larger HD or film cams.

VERY nice stuff, Stuart. I like the first and second ones a lot.

Mine would be Jordan Cronenweth, Conrad Hall, and Roger Deakins among many others.

Salary varies from person to person. I've heard $1000/week to 10,000/week to much more/week.

LTM Peppers are definitely handy. I'd recommend also looking into the Arri 150w Fresnel. It's very small and when you put a 200w bulb in it, it packs quite a punch. The Arri might also be more reliable and a bit more expensive. Also look at the photometrics charts for both-- that might sway you.

I know this is late, sorry... Last I heard, Scotty Allen was the gaffer in TO. He'd be worth looking up, though he may be retired now. Good luck with the shoot.

I think it may be 500. I have a book of those slides, and the fastest speed it has a slide for is 400. The high-slide the only one I ever use though.

I'd have to agree with Andy and David. I've seen some forums that require all users to sign up using their full name as the user ID...

Parabolic Aluminum Reflector. It's a sealed-beam (non-focusing) light that can put out intense light over longer distances when compared with other types of fixtures (like fresnels, open faced, and broads). Fixtures are either tungsten or HMI. HMI PAR: HMI Fresnel PARs have a "dirty" pattern, ie. the center of the spread is very intense (you can sometimes see the filament projected) while the outer area is less intense; becasue of this, some PAR heads allow the use of lenses to widen or soften the beam. PARs are usually what I use for "punch"-- they're great for slashes through a window, backlight from a distance, etc.

Check out this page for a detailed explaination on HMI ballasts. If you're seriously thinking of buying one, you might want to look into a 1200w PAR because it's the highest output head that you can plug into a wall. Visual Products usually has some good deals on HMIs. Arri, K5600, Desisti are good; I'm not a big fan of Moles though (their HMIs leave something to be desired).

The following was posted on DVInfo by the site admin, Chris Hurd: (full thread) I'd be interested to see the control unit that Panasonic releases. I hope it will resemble something like a FI+Z unit (hey, I can dream right?), but then it might cost a couple of limbs.

My thoughts exactly. Nonetheless, Bojan Bazelli David Mullen Jeff Cronenweth Lance Acord (among the others mentioned) No, they're not axactly "new", but they have (more or less) been shooting more "A list" or hollywood films in the past 10-15 years. There's a lot of music video and commercial shooters that people don't hear much about that are doing some really nice work.

Seriously guys. David is presenting you with a rare opportunity to learn from a very talented cinematographer in the field. What is there to debate? It's one thing to be in a cinematography class at film school, where the instructor might give a demo and critique you work; however being able to watch someone work and absorb everything they do is valuable in a whole different way. Of course "that's just, like, my opinion, man".

Yeah, heheh. I'll pass along the message. I've been mentioning this forum to him- he'd have some very useful input- if only he'd open his laptop for once!