Decked out Mini35/DVX Pics?

[Norm Li]

Hey everyone!

Just wanted to see if anyone has any set pics of a fully decked out DVX package?

I want to see a mini35 + a sexy 35mm lens with mattebox, french flags, and side flags.

:)

I've only seen the promo pics of the DVX without a mattebox on ZGC and other sites. I have however seen pics of the XL1 fully rigged but I'm more interested in the DVX version.

Thanks!

Norm

[Charles Papert]

Norm:

I should have some, since that's my setup--I'll see if I can post for you.

[Norm Li]

Sweet!

Thanks Charles :)

Do you have a portfolio website available for viewing as well?

[Charles Papert]

OK Norm, here as some scrappy pix from a short film I shot in the summer right after buying the Mini35. These are all in Steadicam mode.

http://homepage.mac.com/chupap/Film/PhotoAlbum36.html

My demo reels are at:

http://www.demoreelnetwork.com/chupap/index.shtml

[Norm Li]

Hi Charles,

Wow, that set-up is so nice. How much did the whole set-up (minus the DVX) cost you approxiamately? It looks great!

Your demo reels are awesome too. No doubt about it! Well, you ARE a professional! Hey, I'm an independant cinematographer located in Vancouver, BC. I have aspirations of becoming a cam op and DP in the local industry here as a union member.

I know the two industries are different (LA and BC) but I was wondering if you have any tips for me? I wish I had some sort of industry pro mentor or something that I can learn from one-on-one. I'm 24, so I'm pretty young but I want to take the right steps. How did you start out and what is your background?

Oh, if you have time and want to see my current demo reel, please visit: http://www.q-films.com/clips/demoreelhi.wmv

Thanks for taking the time to respond.

Norm

[Charles Papert]

Good job Norm, some nice images and a tight little reel. The only shot that stuck out for my as not that interesting is the guy in the shower--a bit flat.

Looks like you are on the right track, just keep shooting. Your best bet of getting in the IA is to do a low-budget show that turns union. It's also good to start getting to know the DP's, assistants and operators in Vangroovy; go to industry events, screenings, rental houses etc. and start getting the personal relationships going, that's the best way in.

[Norm Li]

Thanks :)

Could you clarify how a low-budget show turns union? What do you mean exactly? Sorry about the stupid question.

I met a few local ops and DPs in town that have done many of the American TV shows and features but I don't want to bother them too much! Are there any certain things that industry pros don't like to hear or talk about with 'aspiring amateurs' such as me?

Once I get to know some of the DP, cam ops, and AC's in town, what do you think the best approach to take it a step further or do I just show them my reel, potential skills, and my aptitude for learning?

I was at a Kodak workshop 2 weeks ago where everyone were Industry camera department and I felt so small in there. I met a few people and made some contacts but I felt that I might bother them or something. I mean, I look at it in a way that I'm not in a position to offer them anything (to shoot a show, or provide $$$) so what would they see in an aspiring cinematographer? I don't want to sound so negative but I guess I was too paranoid or something. Everyone at the workshop knew each other and I was a stranger basically!

When I chatted with some of them, I was as humble as possible.

Thanks,

N

[Charles Papert]

Norm: humble is good, but don't forget that everyone started where you are. I certainly went through all of the things you describe, and it's one of the reasons that I participate in message boards such as this one; certain people went out of their way to help me on my path, so I try to maintain that karma, or something.

An established operator is likely to be shooting smaller projects as a DP and needing helping hands, so offering to help as a camera intern or assistant for those kind of projects is something that may help. And don't be shy about asking those people if they have any advice about getting in--you'll quickly see who is responsive to this sort of thing. Chances are that if you show the right energy and interest, people will be nice to you. Sometimes it may seem logical that the more successful people are, the less friendly/helpful they may be, but my experience is that the union guys are more easy-going than the low-budget folk, certainly less threatened or egocentric due to insecurity.

[Jason Brunner]

Hi Norm,

Here's a picture of my DVX/Mini 35 decked out in full cine mode with follow focus and 6x6 matte box. Its from a postcard I sent out to current and prospective clients to promote the system.



http://www.jasonbrunner.com/m35.html

[Norm Li]

Thanks for the beautiful picture Jason!

Hey, which ads on your website are shot with your mini35/dvx set-up?

Oh, when everything is attached including the cine-lens and if you look through the LCD or viewfinder of the camera, does it actually look much different to your eyes or do you see more of the difference after digitizing?

The Sun-guy looks great. Looks very 35mm'ish!

[Jason Brunner]

Hi Norm,

The effect of the Mini 35 on depth of field is an optical quality that you can observe right as you shoot. The LCD and the especially the viewfinder on the DVX are, from a pro standpoint, pretty sketchy, but the effect on a mid to long lens is unmistakable.

On a field monitor, I often feel it looks like a 35mm transfer,its that good. Only when it gets on a bigger monitor do the limitations of the Mini DV compession scheme become apparent.
The limiting factor of the Mini35 system is the format, not the optics.

Sun Guy, BTW was standard 16mm.

[Norm Li]

"Only when it gets on a bigger monitor do the limitations of the Mini DV compession scheme become apparent."

That being said, how will the footage look on a 27" regular television or 52" HDTV if shot properly using this system? The Mini35 doesn't degrade the quality of the image capture to the point of a general audience watching on a regular tv saying, "This looks pretty bad," I hope! It just softens the image slightly I assume and gives it more of a less video-edgy look? In your opinion, do you think that this set-up is ideally for internet web-based viewing or it's good enough for viewing on TV's?

What type of field monitors would you recommend renting when using this set-up to best illustrate the "WYSIWYG" quality from the DVX/Mini35 system?

Oh, and what filmstock did you use for Sun Guy BTW? I like the look a lot. 7279 or 18?

Thanks,

Norm

[Charles Papert]

Mini35 footage is perfectly viewable on any display. NBC aired the "Seinfeld/Superman" shorts, and they were shot on XL1's. I've also had my Mini35 footage projected up to 30 ft and it looks good. It's certainly the way to go for internet applications. I've been directing some internet ads for Visa with this setup and they might as well be 35mm.

[Jason Brunner]

>The Mini35 doesn't degrade the quality of the image capture to the point of a general audience watching on a regular tv saying, "This looks pretty bad," I hope!<


No absolutely not, IMO the Mini 35 is the best, most powerful tool available to help make Mini DV look the best it can. Used properly I have found that the system actually helps smooth over artifacting from the compression. We are all nothing but a point of view so opinions about image quality are subjective. If you like Mini DV footage sans Mini 35 on a 27" or 52" inch HDTV monitor than you will be very pleased with a Mini. As far as it goes, I just shot a Tunex spot with it, and am blowing away all the competition I had from dudes with MiniDV competing with me on a cost only basis. Does it look like the stuff I shoot on the SDX900 with the PRO35 converter? No. But its still awful good, esp when you realize what it is. Can a Mini 35 system compete with DVCPRO and Digibeta? Yes, to a certain point. How does it stack up against the naked DVX's and XL's? On an identical project geared toward the best production value, it is a wicked tool.

On the field monitor question I use a Sony 8040, but any good one works as long as you set it up to bars. I use the S-video I/O as I get a much more accurate picture than the composite.

Sunguy was 7245 I think.

[Christopher Go]

Jason, which 6X6 mattebox and follow focus is that?