Fernando, that was cool, bien bacano, hermano. Love the colors. Please take me through the process of shooting HDV 720p 24p and then converting to uncompressed 8-bit 4:2:2. I have an HD2000U too, and I want to do that with all my videos.


I'm glad that you like it, tomorrow I'm gonna post the whole conversion process with screenshots, I came with my own workflow because all the guides here in the forum doesn't explain really well how to convert 24p material that FCP can edit without hassles

Here's the setting for converting hdv 24/30p to 8-bit, the only tools you need are DVHSCap and MPEG Streamclip

HDV 30p to Uncompressed 8-bit 4:2:2 30p

http://img244.imageshack.us/img244/8282/uncompressed30prg3.jpg


HDV 24p to Uncompressed 8-bit 4:2:2 24p

http://img262.imageshack.us/img262/6784/uncompressed24pnt4.jpg

Wait I'm confused I thought you could only have 4:2:2 when you are actually recording the material meaning you need some hardware, I didn't know you could do that after you had shot in 4:2:0....is that what's going on here or am I confused?

Wait I'm confused I thought you could only have 4:2:2 when you are actually recording the material meaning you need some hardware, I didn't know you could do that after you had shot in 4:2:0....is that what's going on here or am I confused?

You are right, the material is recorded in 4:2:0 but I found that is easier to handle and process video in 8-bit uncompressed (try to CC a clip in HDV and render, do the same thing in 8-bit, you will see the diference), another aditional benefit is: you are processing video with a better codec and that means less compression artifacts and better quality to processed clips.

Here's a myspace version of the video i did for the band "Cedar Falls" from Liverpool.

http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=1987710949

It was my very first music video and i learned a LOT from making it, and this forum, mostly Tim Dashwood's posts.

Any comments would be greatly received!

Shooting another one this weekend which should be more fun.

Neil

Here's a myspace version of the video i did for the band "Cedar Falls" from Liverpool.

http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=1987710949

It was my very first music video and i learned a LOT from making it, and this forum, mostly Tim Dashwood's posts.

Any comments would be greatly received!

Shooting another one this weekend which should be more fun.

Neil
Neil
Is this an update of the video u post a couple of months back? I like this - u seem to have done some re-editing. Good work 4 ur first. Can't wait to see ur next.
regards
Drew

Hi Drew,

yeah it's an updated version, spent a bit mroe time colour correcting and the sort.

Thing is as soon as i finished editing it i spotted all the faults and things i could have done better straight away, and now it looks very amateurish to me!

But that's all part of the learning process i suppose. Next one will be my first shoot at 50p so should be interesting.

Cheers for comments,

Neil

Hi,
I shot this on the hd 110. standard lense and with Paolo Ciccone's colour2 settings. Thank you Paolo. It was shot 25p for a blow up to cinema.

http://www.youtube.com/watch?v=Wh3XwBh2UgI

That looked great, really profesional the sound was great too, what did u mic it with? Alsowhat were ur compression settings? That was the best HD i've seen on youtube...

Thanks Jamon. The mic was a pretty standard senniser shotgun, an mkh 416, I think. The sound op went tru a mac and recorded to HD but in the end he just used the sound from the tape.It was conformed on a premier based system after an QT export from FCP. I dont know who put it on youtube so I dont know the compression.

Very nice, i'd absolutely love to know what compression was involved. That's probably the cleanest looking video on youtube.

Excellent stuff, how did it look blown up on the cinema screen?

Morten Willoch's "The Crimson Cage" premieres in Perth, Western Australia this month just under 12 months since the shoot wrapped last year. The martial arts action movie was shot entirely on the JVC HD100.

Here's the early wrap party trailer.

http://www.youtube.com/watch?v=hSPQnV2vH8I

Again the compression settings I dont know but I think the fact that there is not much movement in the frame helps. I didnt see it on the big screen but all who did were happy with the quality. The print was done in London from I think exported Tiff frames. We were very happy with the quality from the camera.

60s of planting a fake bomb in a VCR.

This is from my first day with an hd100. The lighting is horrible, several shots are out of focus, and there are no good colors (CC would not have helped much anyway). I decided to post it anyway.

WMV-HD
http://www.jadware.com/HD100_day1.wmv

My friends and I are both pretty avid filmmakers, and this was our latest production. I know it's youtube, I know it sucks, but just take a look and give it your 2 cents please. we had a good time making it, and learned quite a bit. took just around a month. enjoy.

Sleepless
http://www.youtube.com/watch?v=grJHixi8RR0

Check out my feature film shot on HD110...
www.myspace.com/inhospitablemovie
Thanks!

[WARNING: Contains gory images]

Stephen- That looks pretty good! Maybe you should start a new thread on this and share your experience/tech stuff. Would probably be very helpful to many in the community here. Thanks!

Nice one Stephen! Thanks for the gory images (always welcome!). I look forward to Inhospitable - but I'm not getting on the bus. . . .

hey folks.

i have a new higher res reel shot entirely with my hd100 on my website
www.benchace.com - under the video section

peace
Ben

Type: TV Spots
Client: Muebles Jamar
Campaign: Primas
Director: Antonio Angulo
Format: HDV 720p 30p
Tools: GY-HD200 / Chroziel Mattebox / FCP 5.1.4 with Decklink HD Extreme
Direct Media link: http://www.bastidas.tv/videos/jamar_primas_01.mpg
http://www.bastidas.tv/videos/jamar_primas_02.mpg
Comment: These spots are for a local furniture store, the actors are commediants from a national commedy show.

Thought you guys want to see finished work with JVC HD250.
http://www.linkasl.com has all clips completed with HD250 (except for some video insert, which was originally in SD). Sorry, no audio since this is for deaf viewer. 720p is availible to download, too.

I am pleased with JVC HD250, especially that no dealing with interlaced format especially using sign language.

Joseph

In case, you are curious - two JVC HD250 to Sony Anycast HD Swithcer to Kona LHe Card (MacPro), using AJA Xchanger software to capture HDV files.
(Why capture HDV instead of DVCPRO HD - smaller sizes. Save DVCPRO HD capture for greensceen work or broadcast quality works)

Here's a music video of Western Australia's Claire Clarke, local performer. The clip was shot on a JVC GY-HD250, which was mounted on a carousel.

http://www.youtube.com/watch?v=KeGvCnaLk5k

My only claim to fame for this one was standing around doing nothing, keeping the ground in its place and watching others make it happen in the Joondalup segment -- and, while I was winding a power cord in, somebody drove a Ford over the plug-end and ruined it.

Here's a music video of Western Australia's Claire Clarke, local performer. The clip was shot on a JVC GY-HD250, which was mounted on a carousel.

http://www.youtube.com/watch?v=KeGvCnaLk5k

My only claim to fame for this one was standing around doing nothing, keeping the ground in its place and watching others make it happen in the Joondalup segment -- and, while I was winding a power cord in, somebody drove a Ford over the plug-end and ruined it.

That looks great Bob! Animation works very well also (although I've no idea how that was achieved).
Which format/settings were used? I'm guessing the 'carousel' is a device which turns the camera , fluidly over 360 degrees??

just got mine! i will post some music videos and part of a doc i'm doing this summer. in the meantime you can check out some of my SD work at http://www.youtube.com/user/eddietomecko - thanks!

David.

I would have to ask the director those technical questions. The DoP was Jim Frater. The carousel turns continuously through 360 degrees as you suggested.

For the Father Christmas street thief being chased by the mediaval knights, they had an about 1500w focussed light running off a generator adding daylight fill.

I think Jim kept things pretty standard on the camera settings and adjustments were made in post.

The carousel actually gave them a bit of grief. It was ordered in from the US and ran on americapower 115v, so there had to be a transformer in the mix, then the fitting on top of the carousel would not run true.

So one of the light riggers, Steve Rice, who is also a stills shooter , (think Hasselblad ), new JVC HD100/Mini35 owner and a carpenter by trade, made this quick rubbing strip up out of chip-board to bear against the hub and with some lube added, it was sweet.

Was a fun day I thought.

David.

I would have to ask the director those technical questions. The DoP was Jim Frater. The carousel turns continuously through 360 degrees as you suggested.

For the Father Christmas street thief being chased by the mediaval knights, they had an about 1500w focussed light running off a generator adding daylight fill.

I think Jim kept things pretty standard on the camera settings and adjustments were made in post.

The carousel actually gave them a bit of grief. It was ordered in from the US and ran on americapower 115v, so there had to be a transformer in the mix, then the fitting on top of the carousel would not run true.

So one of the light riggers, Steve Rice, who is also a stills shooter , (think Hasselblad ), new JVC HD100/Mini35 owner and a carpenter by trade, made this quick rubbing strip up out of chip-board to bear against the hub and with some lube added, it was sweet.

Was a fun day I thought.

Aye - it looks like you all had fun. Professional job all round - you must be pleased with the outcome.
Really like the rainbow animations flying across the screen...be interesting to know how they were done also.

Cheers Bob.

Type: Music Video
Song: El dolorcito
Artist: Shekere
Director: Anto Nisaac
Format: HDV 720p 30p
Tools: GY-HD200 / Chroziel Mattebox / FCP 5.1.4 with Decklink HD Extreme / Magic Bullet Colorista
Direct Media link: http://www.bastidas.tv/videos/shekere-el_dolorcito.mpg
Youtube version: http://www.youtube.com/watch?v=27Oy-y1vh9U

Nice video Fernando - very colourful!
Was that shot in 50p/60p? Reason I ask is that it doesn't look interlaced (50i/60i) but not quite 24/25p - the fast pans work well and you don't get that blur/stutter you would ordinarily obtain from the latter formats.

As for posting vids - aside from posting on youtube, would most of you have your webspace to add large movie files?

Cheers.

Nice video Fernando - very colourful!
Was that shot in 50p/60p? Reason I ask is that it doesn't look interlaced (50i/60i) but not quite 24/25p - the fast pans work well and you don't get that blur/stutter you would ordinarily obtain from the latter formats.

As for posting vids - aside from posting on youtube, would most of you have your webspace to add large movie files?

Cheers.

the video was recorded in 30p but in post I applied some filters to make it more "film-like" like colorista and vignete filter. I'm uploading videos to our webserver for quality reason, I'm thinking to upload h.264 versions of all videos so stay tuned.

Thanks Fernando.

Here's another clip, this time shot for Perth band "ANTISTATIC" on the JVC GYHD250 with P+S Technik Mini35, here of course in our wonderful state of WA, (Western Australia, not to be confused with WA Washington US.)

Framerate was apparently 60P and the audio track played back on set faster to obtain correct duration of the clip.

Prime lenses used were Sigma for Nikon f2.8 14mm and Sigma for Nikon f1.8 20mm. The vertical flares I think were added in post as I don't recall seeing them on the split.

None were geared, however running the radio follow focus drive gear onto the lens focus ring wrapped in a big red elastic band worked.

Steve Rice, who owns the Mini35 has since bought in a geared 14mm f2.8 Nikon 14mm and geared the other Nikon primes in the set.

All too high a science for me but effective. DoP was Jim Frater who owns the JVC HD250 and the steadycam rig.

Here's the link. http://www.youtube.com/watch?v=BT-n6noho7k


Here's links to the behind the scens of this clip, - not my work.

http://www.youtube.com/watch?v=h-R0G5-wbDY

http://www.youtube.com/watch?v=wXNw_GbLCe8


Also here's a link to someone's behind the scenes footage of CLAIRE CLARKE'S "BLUR" clip - not mine.

At 00:47-48, you'll see what is possibly myself (with gaffa rolls on each sleeve) and Steve Rice troubleshooting the camera carousel with a rubbing piece made of craftwood. DoP was Jim Frater and the JVC HD 250 is his.

The carousel looks a bit like a chicken cooker rotor on steriods but it still was a bit light for the job and needed strengthening to stop the camera from rocking.

http://www.youtube.com/watch?v=sPfO8nGTneU


The clip itself is here.

http://www.youtube.com/watch?v=KeGvCnaLk5k

Thanks for sharing those Bob.
Such a large, professional team and set of equipment...makes me feel a little inadequate with my one man band!

Cheers.

Here's another clip, this time shot for Perth band "ANTISTATIC" on the JVC GYHD250 with P+S Technik Mini35, here of course in our wonderful state of WA, (Western Australia, not to be confused with WA Washington US.)

Framerate was apparently 60P and the audio track played back on set faster to obtain correct duration of the clip.

Prime lenses used were Sigma for Nikon f2.8 14mm and Sigma for Nikon f1.8 20mm. The vertical flares I think were added in post as I don't recall seeing them on the split.

None were geared, however running the radio follow focus drive gear onto the lens focus ring wrapped in a big red elastic band worked.

Steve Rice, who owns the Mini35 has since bought in a geared 14mm f2.8 Nikon 14mm and geared the other Nikon primes in the set.

All too high a science for me but effective. DoP was Jim Frater who owns the JVC HD250 and the steadycam rig.

Here's the link. http://www.youtube.com/watch?v=BT-n6noho7k


Here's links to the behind the scens of this clip, - not my work.

http://www.youtube.com/watch?v=h-R0G5-wbDY

http://www.youtube.com/watch?v=wXNw_GbLCe8


Also here's a link to someone's behind the scenes footage of CLAIRE CLARKE'S "BLUR" clip - not mine.

At 00:47-48, you'll see what is possibly myself (with gaffa rolls on each sleeve) and Steve Rice troubleshooting the camera carousel with a rubbing piece made of craftwood. DoP was Jim Frater and the JVC HD 250 is his.

The carousel looks a bit like a chicken cooker rotor on steriods but it still was a bit light for the job and needed strengthening to stop the camera from rocking.

http://www.youtube.com/watch?v=sPfO8nGTneU


The clip itself is here.

http://www.youtube.com/watch?v=KeGvCnaLk5k
I really like the choreography of your camera movement.
Is all the light smearing by disign? I typically would not expose so that the CCD's smear but in your video it looks interesting.

Steven.

I am not the originator or director on these projects. I went along as an asssitant to Steve Rice and shot of a bit shadow footage on my cam and one of theirs at the Antistatic shoot at the backpacker's hotel corridor.

Whether any of it was mine or one of the others I don't know. Things were pretty busy and a number of people were seconded to the handycam when they were standing around.

The director is a sort of West Australian flavour of wunderkind. He and his core crew around him come up with some good ideas and the shoots are a fine place to learn. The outdoors shoot at Joondalup was huge. There are only music videos but I would like to see that they could do with a feature.

The vertical smears I think were added. I don't recall seeing them on the vieo split. Groundglass based imaging tends not to smear vertically on pinpoints, but flare in all directions. The wall lamps themselves were added and not part of the corridor which was lit by overhead flouros in the high ceiling.

There were cords gaffered into the corners of the wooden dadoes and doorframes and the tape painted over. I actually cursed those lights because they were not well made and kept falling apart. It fell to my lot to fix them against the clock ticking.

My guess is that some pf the cabling might have been visible and the smears added to cover it. As an artistic effect, quite cool I thought.

There is a little network of keen independents who help out on each other's projects with spare hands and equipment loans here outside of the mainstream. It is the relatively low-cost modern cameras which have helped make this activity possible over here.

The initial take-up seemed to have been Sony Z1/FX1 and Canon but the JVC HD100 family is making a significant appearance. Steve's Mini35 is the onyl one here but there may be others soon. Jim is thinking of the compact for his JVC HD250.

I'm off this morning to look over the shoulder of a a TVC being shot in Freo this morning, only learned about it yesterday so with consent of the producers I will see if I can post something on that.

I went to the TVC shoot at Fremantle today at FTI, two restaurants and what has become a "town" Univerisity precinct, streetscapes of heritage buildings which have been conserved and are now places of learning.

One of Western Australia's respected DoPs, was at the helm on the JVC/Mini35.

Between periods of doing things, I was not able to get any shadow footage worth posting. Looking over shoulders was good for the personal knowledge base, learning from people who know well how to get the most out of the new generation of equipment.

The director and DoP did some wonderful optical things with lighting, backlighting, background choices, a Nikon 105mm f1.8 lens, Mini35 and a large wineglass as a slowly rotating diffuser, in edge of frame and about 6" from the camera.

Be assured, if I learn of this project being posted for viewing anywhere you will know of it here soon after.

...and a large wineglass as a slowly rotating diffuser

How on earth does that work then!?!

Cheers Bob - sounds like you've had a fruitful day....I went out to shoot for another job and yet again I've been washed out by this continuous rain :(
Be sure to post any footage of this project also.

Wine glass?. The director held it just by the stem and moved the barrel of the glass around the side of the frame whilst watching the camera LCD.

The camera operator concentrated on maintaining the composition of the shot on the subject, extreme close-up of girl drinking coffee in cafe.

This has the effect of softening the image and making it move about a little, then snap back into position, sharp.

Outdoors with the running girl, they used a dingle (sprig of gum leaves) for a dappled effect with a lens wide-open or just simply a sprig of leaves to be in the foreground for composition, not sure which in this case.

With the glass you get short moments of something special which cut well into a 30sec TV spot.

Interesting...cheers Bob. I may give that a go myself - always good to hear of these little tricks performed on camera's (and which don't cost the earth!).
Thanks.

my first finished hd110e project:

Type: Cinema Advertisement / Web Advertisement
Director: Juliana Neuhuber
DP: Thomas Weilguny
Thread: http://www.dvinfo.net/conf/showthread.php?t=99534
Format: DivX
Size: Approximately 20mb, divx plugin required
Direct Media link: http://stage6.divx.com/user/Hasus/video/1442291/Jugendwallfahrt-Mariazell-2007---Spot


this is a spot i shot two weeks ago, it will be shown in cinemas next week - filmed with the redrock m2 adapter and nikkor slr lenses.

I must apologize that I haven't been able to keep up with all the new finished project submissions on the #1 post on this thread.

Is there anyone who would like to help out in this regard?
Someone who has some time on their hands to sift through this whole thread (as well as the other self-contained threads) and simply compile one post with the pertinent information as Thomas has kindly formatted his in the previous post.

Thanks in advance.

Here is a thread with some links to footage I shot within the last year on my HD100. It's a great camera...we've had a lot of fun getting to know eachother.

http://www.dvinfo.net/conf/showthread.php?t=100840

Here's a link to a preliminary version of a clip shot to demo the JVC GY HD100 and P+S Technik MINI35 at recent local product demonstrations at FTI Fremantle and Curtin University.

http://www.youtube.com/watch?v=aabJj2EED38

The clip was retrieved from a DVD-Video disk and recoded to mp4 for upload so should not be held as representative of the final version which includes the guitar player and close-ups of fingerwork on the fretboard.

I shot shadow of this project on a Sony Z! and home-made AGUS35 and posted that footage at YouTube under the title of "AGUS35 films MINI35".

Very nice, Bob
Ron

Check out our latest project: "Conviction." Shot in 12 hours at an abandoned warehouse in downtown Grand Rapids, Michigan. Shot on the JVC HD100 with the Brevis 35mm.

http://www.cineverapictures.com/clips/conviction.html

Not my project, but just saw this article on DV.com:
http://www.dv.com/news/news_item.php?articleId=196603457

Feature Film "Scourge" Shot in HD with JVC ProHD GY-HD250

PHD Productions records HD-SDI output to Wafian HR-1 HD video recorder


Wayne, N.J. (Sept. 27, 2007) -- Director, Jonas Quastel and DP, Corey Robson of PHD Productions chose JVC's lightweight GY-HD250 to shoot horror film, Scourge because of the cameras ergonomics, 60p capability and HD-SDI output compatibility with Wafian’s direct-to-disk HD video recorder.

Using technology from the present and past, which initially set the stage to shoot horror film Scourge, PHD Productions achieved a 35mm depth of field look with the combination of the GY-HD250, manual focus Nikon lenses and Redrock Micro M2 lens adapter.

Robson, who has filmed extensively with his GY-HD100, is very familiar with JVC’s camera and knew that the GY-HD250 was the right choice to shoot Scourge because most of the film was shot hand-held.

Questel also favored the GY-HD250 because of its ability to flip the image on the fly and output 4:2:2 HD-SDI into Wafian’s HR-1. “We used the Wafian to preserve the best master image quality -- possible as well as bypass HD decks and tapes,” commented Questel. The camera performed flawlessly. I always had a clear signal to the monitor. There was no down time when it came to JVC’s camera.”

According to Robson, the camera’s compatibility with the HR-1’s 24fps reverse pull down convinced him that this workflow would be the most cost-effective and efficient way to maintain the GY-HD250’s image quality from set to post. “The on-set workflow was simple and worked incredibly well. We connected our sound into the camera’s XLRs where the audio became embedded into the HD-SDI stream, along with the camera-generated timecode and image. The HD-SDI cable from the camera fed the Wafian back at the director’s monitor. This ensured that we had audio on both our HDV backups and on the HR-1, which avoided double-system post expenses,” added Robson.

Quastel says the GY-HD250 captured beautiful highlight detail during the mostly white hockey rink sequences in the film. “Humidity and cold were never an issue for the camera. We shot a majority of the film at night – complete with rain showers and very tight schedules, making things less than ideal for treating a camera gently. The camera was thrown around a lot,” said Quastel.

Robson praises the camera’s versatility and custom menu functions. “I think a very often over-looked consideration when choosing a camera is ergonomics. And this was a big deal to me working on Scourge. With regard to image setup, the GY-HD250 has completely adjustable matrix, shading, and gamma options. In-camera “looks” are easily dialed in. The adjustable focus-assist feature came in handy especially for insert work and the camera’s true 1280 x 720 imagers were another reason to go with the HD250. No scaling and cross-sampling pixels with the JVC cameras.”

Robson also commented on the camera’s battery life, “The built-in Anton-Bauer gold mount was another great feature of JVC’s camera. With a power tap and a Dionic 90, we were often running an on-camera Panel-Lite, Bartec unit, and additional 7” monitor all at once.”

We just delivered a feature documentary to PBS shot on our HD250's with Fujinon 13X lens. John Paul II: A Saint For Our Times was shot in Italy, Poland and the US. This will be a 60 minute national pledge special and will be picked up by many markets across the US. It focuses on the themes of JPII's life as a hero of non-violence and human rights.

Shot in 720p30 on tape and HD-DR100's, edited entirely in native HDV on FCPro 6. Downconverted to SD via 10-bit uncompressed and mastered to Digital Beta. Should start airing in Dec 07 on local PBS stations.

We were very happy with the performance of the ProHD gear overall. Problems persist with dead pixels popping up, and still many issues with the BR-HD50 decks.

Dave Beaty

Check out our latest project: "Conviction." Shot in 12 hours at an abandoned warehouse in downtown Grand Rapids, Michigan. Shot on the JVC HD100 with the Brevis 35mm.

http://www.cineverapictures.com/clips/conviction.html

Looks great!

What settings did you use?

PS - our company is located in Ypsi....

john
evilgeniusentertainment.com

I thought i'd put together an updated showreel together for use of my HD110e

Sorry about the youtube-ness but i can't host anywhere good enough at the moment.

http://www.youtube.com/watch?v=l2nD-KwhjW4

any comments would be much appreciated!!

I thought i'd put together an updated showreel together for use of my HD110e

Sorry about the youtube-ness but i can't host anywhere good enough at the moment.

http://www.youtube.com/watch?v=l2nD-KwhjW4

any comments would be much appreciated!!

Looks fantastic Neil. Some great footage and editing techniques (particularly enjoyed the footballer 'cutout') - shows a diverse range of projects you've been involved in too...plus I recognise many of the locations!

All HD1** stock lens?
Good work.

Type: Short Film
Director / DP: José L. Martínez Díaz
Production Company: Contacontos P.C. S.L.
Link: www.xanadespedida.com www.xanadespedida.blogspot.com www.myspace.com/xanadespedida

Camera: HD100E / Stock Fujinon Lens

Cheers,

Jose