Just added footage shot with the DVX-100 in 24p and the mini 35 adapter with a set of Arri T1.3 Primes (18mm, 25mm, 35mm, 50mm, and 85mm).

This is a link to my "reel page". Scroll down to "24p dv" and click on the image.

http://www.grid212films.com/lbreelpage.html

Hello Laura

Good Stuff!!!

tell me how you set up the underwater clip

Thanks John

The underwater shots were very simple. The camera was pointing straight down into a large aquarium that was weighted with sandbags. The girl swam underneath, and banged on the bottom of the aquarium.

The whole rig was right on the edge of the pool, positioning the girl right in front of the existing pool light.

I hope that wasn't too disappointing.
=)


Those two brief clips of the girl in water were shot with the standard lens on the DVX-100. Everything after that was shot using the mini 35 adapter.

on the contrary, very cost effective and a technique to remember

great dynamics!

Quite beautiful. Nice movement too. I was impressed by the "3D" composed shots. it showed off the depth of the equipment.

Incredible!!!! Though it would be nice to see them in full quality. Do you think you could post some framegrabs?

Let me also throw in my $.02.

Very nice...nice story...nice cinematography...good acting and direction...good editing...

Just very good work...I'm impressed

I shoot with the mini35 as well, really great work and I really like the use & mix of dolly and crane shots!

What frame mode did you use on the DVX100 to capture the footage - 30P/24P/24PA?

Great stuff, thank you for sharing!

Thanks guys! I shot in regular 24p.

I noticed someone mentioned a crane. We actually had a little port a jib, with about a 4 or 5 foot reach, on a doorway dolly. I stood on the dolly, operating from a monitor, with a gobo arm attached to the handle of the head, so I could reach to pan and tilt as I jibbed upward. It was a fun little rig.

That jib setup with the gobo arm sounds great!

What lenses were used and did you use any external ND filters or was setting the lens iris enough to control the light?

Last question: how did you find pulling focus with the rig? I find it a real pain in the !@# when dollying away or towards the subject - of course trying to do it all on your own with barely a crew does not help either! Making it worse is that I usually set my lens aperature for f2.8 or f3.5 so my actual depth of field is small.. maybe too small.

Any suggestions or knowledge you could share would be greatly appreciated! Thanks!

Dennis Hingsberg
Toronto, Canada

The jib shot was on the 25mm, I used all of the in-camera NDs and stopped down on the dv iris to something like an F11 or 16, leaving the film lens just shy of wide open.

Through the move, the camera basically stayed on the same plane, so we set the focus as far as we could without losing acceptable focus in the girl's beginning action, erring on the side of too far. I want to say we settled on 14 feet.

Do you use cinema lenses, or nikon?

I'll agree, very nice stuff Laura. Pretty lighting.

I'm guessing you had a good AC with you! As Dennis pointed out, it's no joke pulling focus on 35mm lenses. I usually shoot between a 1.4 and a 2 on the Mini35, unless I'm at an 85 or longer when I start to give the assistant a break!

Thanks guys!

I was using cinema lenses.

Zeiss T1.3 (18mm - 85mm inclusive) and Yes, focus with the mini 35 is nearly as critical as film work, although I was sort of training my AC and pulling for myself occasionally.

I've shot quite a bit more with this set up since the original posting, as soon as I have access to it, I'll be sure to put on the web and post a link.

and Charles, I took a look at "The Undecided", impressive two day project!

one of the responses gave a link to your IMDB listing. What scenes from Carrie 2 were you a part of? I was a PA, my very first time on a film set...

Hi LBL,

I was on the reshoots/pickups back in L.A. A scene in a diner set, some inserts for the melee at the end, that sort of thing. I wasn't in the Carolinas at all.

It's funny, in the last couple of weeks I've had several people mention they were on that shoot--weird timing!

Laura,

I think your very good. You would Def. give some of the freelancers down here in San Diego some pause. Do you happen to know a Dp named Erik Green up in LA?

Dean

Thanks Dean. I appreciate that. As for Erik Green, the name sounds familiar. Should I know him?

Erik Green is a freelance DP who works up in LA and moonlights as a professor of cinematography at USC and SDSU. He's been around awhile and since its a small community I thought you might have crossed paths with him.

I meant what I said about your reel, I constantly deal with young DP's down here in SD and many have a strong sense of visual impact, but what they lack is a complex understanding of story and context.

Your 35 reel showed impact and technical suave, but what really stood out for me was your mini35 24P reel. I watched it with the sound off and was pretty impressed how much I gathered just from the images.

So you have both ends covered pretty well which is eons ahead of many.

Dean

Thanks so much, Dean. I really appreciate what you've said.