Great effort Nori,

I liked the Matrix meets sled riding redneck costume design. The lighsabers were well done, but yeah, I agree with Rob on the colour correction issue. For a web movie it looked really good though.

That was warped..... and not my taste really. BUT... I was totally inthralled and drawn in.. I thought the editing was supurb as well as some great special FX.... Over all I thought your film was a very well played out vision.... Congrats on making a good short.

Keep up the great work.

Looks cool - shot entirely on the GL1, eh? Nice! His editing skills are superb.

I take nothing the wrong way. Any critisism is good, it can only make you better, thats what I think. ;)

- Nori Wentworth

Hello;

I just thought I would share my teaser trailer for a movie that is far, far away. This was shot on my old Analog Samsung Camcorder :)

Citadome Teaser Trailer
Trailer: http://members.shaw.ca/kloudi/theater_001.htm
Poster: http://members.shaw.ca/kloudi/images/poster.jpg

I just invested $11,000 into my video business, With that I purchased the Sony DSR PD-150 and a bunch of Audio equipment. I am also looking at purchasing some lowel light kits soon. - I can not wait to start shooting my feature this summer.... When you get new toys it feels like christmas all over hahahaha.

Anyways enjoy the trailer.

Has anyone here first hand seen what NTSC DV footage looks like on a 35mm transfer at an event?

I have a Canon XL1S NTSC, and after reading this forum am still confused of whether you can successfully go to 35mm from NTSC.

Does NTSC look like garbage on film?

Thanks

Vicks

Nevermind I found what i was looking for.

Thanks

so what did you find..anything worth a look at?

I would like to know what DV footage looks like after a 35m
transfer...

...you should.

The technical pages are excellent. It shows pretty much how to setup a GL-1 and do some impressive work. It seems he shot in frame movie mode, but that is not clearly spelled out.

I guess he could have done it in post doing the de-interlace thing.

Audio, he has used Sennheiser 100, which is my vote for one of the best wireless around. It is amazing that after listening to lavs, you can tell when they are being used.

It would have been interesting to see what he had learned about lighting. Short story, it seems he learn well.

Later,
Nathan Gifford

I heard about Bamboozled, which was shot using Sony digital cameras and an XL1.

Looked into that.

I finally found time to watch the 9/11 doucmentary. Very moving. You couldn't have written a better plot...with the brothers losing track of each other and all. I thought the rookie fireman showing up out of the blue without much to say was rather anti-climactic.

Has anyone heard what kind of digital cameras the brothers were shooting with?

The most chilling moments were when the firemen paused at the sound of a body landing outside. yikes!

They shot that with a pair of PD150's, or it was one P150 and a DSR300, not sure. But at least one PD150 for certain.

Does anyone knows a ballpark figure of how much ASCAP charge to give a license for use of one or two not so famous songs of an artist of statue like Vam Morrison (he's well know, but i imagine, not extremly sought) for SYNCHRONIZATION and PERFORMANCE permission?

I would imagine my wife could answer you, but give me some more info and I'll ask her and get back to you.

Is it for broadcast? Is it for commercial purposes? How long will the piece be?

Well it would be used once or twice in the movie that will probably go to video here and definitely for theatrical release in a small european country.

not bad at all ulrik!

but, what i am interested is how did u manage 2 capture that great audio? what did u use if i may ask?

Sorry I can't give you anything to help. My wife's experience is in commercials.

Well I was going to leave it at that, but that wouldn't do this community justice, so here's something (from ASCAP FAQ) with a link for more..

If you are using a pre-recorded song or another pre-recorded piece of music in your film, there are two rights you need to clear; that is to say, you need to get two different licenses to use the music.

Synchronization License: This is the right to synchronize a song or a piece of music with your visual image. It must be obtained from the copyright owner of the music, which is usually the publisher. You can find out who the publisher is by using ASCAP's Clearance Express (ACE) at www.ascap.com. Songs that are not represented by ASCAP might be found at the National Music Publishers' Association "Songfile" website (www.nmpa.org).You will be provided with a contact at the publisher's Business Affairs or Licensing Department.

Master Use License: This is the right to reproduce a specific recording of a song in your film. You clear this right with the record label who owns the specific recording you would like to use; see the liner notes of the recording to find out which company this is. Alternatively, you can get contact information for record labels by calling ASCAP's Film/TV Department. You will be provided with a contact at the record label's Business Affairs Department.

Hope that points you in the right direction. Good Luck!

I just checked into using a famous song from twenty years ago for a thirty second commercial.

It seems this is the hot thing to do right now, and it doesn't come cheap.

The quote I was given was "high six figures or in the low sevens".

The guy I talked with said the last one he did cost two million for the rights.

Old rockers have to pay for their retirement somehow you know.

mike avery

Hi Folks,

Apples site has a series of articles on the new film Full Frontal, http://www.apple.com/hotnews/articles/2002/04/fullfrontal/ that I thought many might want to checkout. Of cource it features the XL 1s and Final Cut Pro. Mostly the PR stuff but some good info for the undecided (about NLE's) amongst us.

Jeff

A lot of pictures seem to be missing on that site though... Seems
to be a very extensive report otherwise.

thanks for both critiques :)

captured audio .. walking sounds and the water in the bathroom, eggs etc. were captured with the mic on the xl1s

additional sounds as the "flashsound" or the strange noises were from some soundfile I download about a year ago from some independent filmmaking board or from computergames and I changed it with some musicprogramm

ah .. the percussion was capture with the XL1s mic as well .. the standard version, no ext. mic .. and I put a small echo on it.

hope this helps and have a nice weekend, all of you :)

Ulrik

I'm plannning to do a docu in a 3rd world country which might involve a few interviews with local teens? Would I need a release from them or from their parents?

And generally what type of releases do I need from my interviewing subjects when they are adults? Is there a certain standard to adhere to? Also, since I'm going to non english speaking country, do I need a local translation of the release or would English only suffice.


Help anyone?

Thanks kindly.

I'm no expert at all in legal things... but logic for me answers
your two questions:

- will you need a release form.
Yes. Those are people who can sue you too (probably).
The chance is they won't, but you probably don't wanna
risk it anyway

- does it need to be translated
I think this will be the best to do. In a 3rd world country
I doubt many people speak (and especially read) english.
It might also be best to keep it as clear as possible for
them as to not confuse them with legal terms.

Just some thoughts.. As I said, I'm no expert what-so-ever
on these matters!

Hi Ulrik. I just downloaded your movie, then realised I'd already seen it on hackermovies :)

I really like what you did with the outside bits, the colour and feel of it was great. Was it a camera filter or did you do it in post?

The sounds was cool too. Makes you think the onboard mic's aint that bad after all! ;)

Keep making more films and good luck!

Depends completely on local law in the case of a release in that country.

In case of release in other countries there are various international agreements that may apply.

Worse case, someone in the movie comes to the USA (or your home country if not the US) and sues in local court. Whether or not you need to head this possibilty off depends on whose image you propose to use.

If a great deal money is involved, get an experienced lawyer.

everything what had to do with changing the image was done in post-production, that includes all the color effects .. no filters were used

true at hackermovies.com is another version of this short, forgot to mention it - sorry

good luck to you too and have a nice week :)
Ulrik

This is an early preview trailer shot with a one chip Sony PD1P. Principal shooting starts this summer on the P+S Technik mini35digital adapter and the Canon XL1S. The trailer is a bit big...

http://www.operafilm.com/campslaughter.html

Bruce A. Johnson recently did an article for dv mag...he shot in africa, and did come across some issues, i suggest you can contact him through the dv.com forum, he moderates the camera forum

Also; 3 minutes of uncompressed video would be something like 3,6 GB in size.

It is correct that FCP does not do a recompression within the timeline if you don't tell it to. A filter or text layer would produce a recompression and degrade the material. DV is a very destructive format due to it's heavy compression. Scrolling texts are virtually impossible to achieve due to compression artifacts within the DV codec.

the other trailers you have are these projects finished ? or just trailers shot to raise interest/$$ ??

i watched all the trailers . visually they held my interest (don't know what they were saying--- because of language )....

Donatello,

the other trailers are two feature films in post production. TRIO and ONE AMONG OTHERS. They will be finished some time in september-october and are shot entirely with the PD1P one chip (1/2") camera. ONE AMONG OTHERS where shot inspired by Rob Nilssons Direct Action Cinema Minifest. Mr Nilsson is a friend of mine and I am working on a documentary about him (in San Francisco). Those of you that read RES Magazine might have read his last page collumns.

TRIO (In Swedish)
http://www.operafilm.com/trio.html

ONE AMONG OTHERS (In Swedish)
http://www.operafilm.com/eba.html

I have much respect for Rob Nilsson and read his column regularly. Very cool that you're working with him. Thanks for sharing that,

Chris,

of course I always enjoy your contributions to RES. Keep up the good work! Too bad we don't have any magazines in the vein of RES in Scandinavia. I wrote articles on DV hardware and software in the one we had a while ago. The magazine died with the dot com death thing. Did some work for MacWorld too. I've been thinking on translating my articles and publish them on the web since I always tried to do them in tutorial style. "How to fake gun fire using Commotion" etc. If I get the time I will do it.

Martin, I would be more than happy to run your articles on dvinfo.net, with links back to your own pages. Just let me know,

PAL is higher resolution, as well as a frame rate close to film's. The higher the resolution, the better the transfer will look. But if you go into this blindly, you're going to have problems. You first have to decide on the film transfer lab. One here in Vancouver specializes in NTSC interlaced transfers. Others prefer PAL non-interlaced. Some also prefer a 16:9 format. Finally, you have to decide if you're going to have the bread. But I think the most important thing is skill---skill in the story writing, and skill in directing and producing.

I saw Swordfish on HBO and if you are quick, you'll see the FBI, using the XL-1 with a big Canon(500mm/for 35mm lens)

Tonight I watched a movie pilot for the fall tv season. It was based on an archaeology theme type (Indiana Jones type), contemporary drama.

Yup, they (the actors) use an XL-1 to record their findings in the temple.

Look for it this fall.

Bruce

the wedding video guys in "The Wedding Planner" with Jennifer Lopez have an XL-1 also saw the XL-1 in RollerBall(I got free tickets to see RollerBall, so glad I didn't pay to see it).

When I see an XL-1 in a movie or video, I tell my wife, "Look, they're using the same camera as me!" by now she just says, yeah, yeah, whatever, although she gets tired of me pointing out the XL-1's, I never get tired of seeing them used in films/videos.

I forgot to mention my favorite xl-1 sighting in "The Spy Who Shagged Me" saw it before I bought my XL-1. Yeah, Baby!!!

The XL-1 also features in Vertical Limit - I believe when they are at base camp and there's a load of people around.

Kai.

I'm extremely impressed with it... Had no problem with the guy outside personally. I actually like the fact that there's no dialogue, and your great sound design makes it much more intense in a way.
A great short story executed very well.


Kai.

OK!!!! That's it!!!! The XL1 is no longer the punk camera it used to be...IT"S SOLD OUT!!!!! I'm going back to VHSC

adrian,
in that case, John and I will flip for your camera, better yet, we'll junken for it.

Rik, it's PAL, not much good in downtown Osaka. John Locke arrives here on the 21st of this month so if your going to be in town drop one of us a line for a brew down.

so far it looks like the weekend of June 15th, there is a big Gothic/Industrial event at the Liquid Room and I'll know for sure about a week before that if I can make it. As soon as I know if I'll be going then I'll let you guys know. Unless I have a wedding to video tape on the 16th, I'm there.

I recall reading somewhere that the WB TV show "Felicity" is edited using Final Cut Pro and I do recall reading that one of the shows producers (or something like that) is a big Mac fan and hence the dorm shots almost always shows a Mac or iMac of some sort- they always seem to have a Canon GL1 on hand if an epsiode shows someone video-recording...knowing that the WB is using prosumer grade equipment (to an extent anyway) would anyone know if the show "Smallville" also follows this trend? There's a Mac in just about every episode (Chloe uses them for her reports) and it sometimes has a certain "look" that I'm noticing on some of the newer WB shows...just wondering if either Final Cut Pro or DV cameras are being used in producing any of these new tv shows......

thanks to anyone in the know who might offer any info....

(..would I love to see the show being taped in Vancouver....maybe someday)

The presence of the Macs is "product placement" -- a commerical deal that companies generally pay for, sometimes they pay quite a bit. Both shows you mention are aimed at a demographic Apple surely wants to market to. I doubt the machines are in the shots just because the director's a fan of Macs.

Other notable Mac product placements: Sienfeld had Macs in his apartment. C.J., the press secretary character on the West Wing, uses a TiPowerBook I think.

I've actually heard of this- was just hoping our DV "tech-hobby" was mainstreaming....

....the quest continues....

(thanks for the reply)

just picked up a info sheet on a movie called "someBody"
shot on 2 NTSC XL 1 in frame mode (YES it says NTSC) , standard 16x and 3x canon lens, sound recorded to tape w/me66 mic's ( 1 on boom , other mt.on camera) , edited offline on discrete edit system - onlined on FAST Silver system.
transferred to 35mm at swiss effects, answer print by deluxe, release prints Magno lab link NYC

opened april 26 sunshine cinemas NYC
opened may 3 greenway , houston TX , Bethesda row cinema , Bethesda, MD, and angelica film center NY

OPENS MAY 17 sunset 5 ,LA, & Galaxy, SF california

i have NOT seen it ...this will tell us what NTSC frame mode looks like transferred to 35mm

has anybody seen it ?? ..

it did play at sundance but was screened digital ( digibeta master up converted to HDCAM at roland house ..

all info came from a printed sheet that you can pick up at birns & sawyers info wall ( near camera checkout)in LA

i would like to check this out....

if you have anymore info about it please post!

I wonder how he's going to cope with the black lines problem that the xl1s' have. Crop for even less resolution? I would have thought something like that would bother him.

The film transfer house he's contracted to take this to 35mm will deal with it by cropping, no doubt. They have to do that anyway to get a proper aspect ratio for the theaters. Pretty sure it's not much of an issue for him.