As promised, here is a footage from the first 1:45sec of the the film I'm working on. HD100 is the camera with stock lens using lots of Tim, Paolo & Stephen's scene files. There's still 11 filming days left.

Please right-click and download the 720p wmvHD file.

http://www.georgedavidfilms.com/suite507movie/trailers/suite507.wmv

Hi David, Very nice footage and editing.

What can I say fella - cracking trailer you have there. Well done.
Looks like you have used a combination of the scene settings - the cassette player against the guitar shot for exampe.
Interesting use of subtitles also George. And you composed the music for the film right?
Cheers.

Is that 30p? and Why? Why not 24p?

Marc - thank you for your kind works.

David - Good take on the different settings between adjacent scenes. Definitely that's on purpose. This is one of those weird films where you don't know when the character is dreaming, hallucinating, awake or actually experiencing something supernatural :-) The different scene files hopefully will confuse people more. Regarding the subtitles, that's one thing I never done before so I wanted to do something that's similar to a corporate video without the lower/upper 3rds (ha ha ). And yes, I composed the little piano piece there.

Jaadgy -- everything is shot on 24p frame rate. I didn't use 30p with anything although I like 30p frame more.

Opps -- I just watched the downloaded trailer. I put Sony pictures to show to the cast/crew yesterday for good luck as we're using mostly sony stuff (laptop, software, monitor, etc.). I'll remove that part...

Looking at the footage again - Jaadgy, thank you for the 30p comment. That actually made my day :-) I love it when there's no judder in anyway in 24p. The trailer does look like 30p to me. In the last sequence when the guitar is strummed and head of the actress moves, that's the only time I sorta' notice it's 24p.

George
Very good. All with stock lens etc - no 35mm adaptor?

Andrew

Hey Drew. Yes, no 35mm adapter - just the 16x stock lens. Thanks for looking.

Looking good. Always amazed at how well the camera "sees" outdoor footage. Loved the shot of the moon...

john
evilgeniusentertainment.com

Looks good! Any correction done here, or is all just straight scene files- in camera? the shot of the girl with the red background -which file? the blond girl distraught? the exterior blue sky/moon?
Any tips/advice on exposure, etc., observations about using the hd100?
Thanks!

John - thanks, man. I love how the HD100 films exterior shots, especially a scene with lots of shadow/light interaction.

Hayes - for the cute little girl (she is a genius child and has good credits on IMDB) in red background, I used panamatch and then darkened/increase contrast in post slightly. I also used a .6 ND filter with that shot.

For the blond distraught young woman (great person and beautiful actress), Tim's bleach bypass 3200k WB with lots of tungsten light from the direction of a large window. I also used a fig-rig for those who wonder if the Fig-rig works with the HD100 (mixed results, but workable).

The exterior shot of the moon was done using Paolo's TC2 and I darkened/increased contrast in post. Everything else is straight from the camera.

Does anyone else find it entertaining that it was Sony Pictures using the HD100?

George,

I am greatly impressed. I think what struck me most were your blacks. They dropped off into infinity without any trace of artifacting or blockiness.

I am very interested in the shot of the tape recorder. How did you light this shot, what settings did you use, and what post work did you use on it?

My only criticism, and please take it with a grain of salt because I have obviously not seen the entire project, is the shot of the girl with the curly hair and glasses(?) occuring around 1:30. I felt this was shot a little too flat and looked video-y.

Keep up the great work.

Matthew - I need to take that Sony thing down before I get in trouble as that was just to boost morale :-) I used mostly Sony products to make this film from software to monitors -- even got close to using an XDCAM but I'm glad to stay with the JVC.

Joshua -- thank you for your kind comments. The blacks were probably just out of pure luck -- because of how the JVC handles them and also because of nice scene files designed by awesome and very helpful pros here.

The shot of the tape recorder was done using macro mode, very nice natural lighting coming from a window with 2 inch blinds, bleach bypass setting @ 5600k WB and no post work whatsoever. You are very correct about the young woman shot. I wish I took more time to do that -- I just opened the blinds in the room and them stuck a 3200 fill light with blue gel. I would love to redo that shot with a more dramatic lighting, possibly with nice shadows in her face and add a little color and texture to the wall or something. (which I will in a couple of weeks if I have more time).

George
Very nice shots!
For my taste, the refered girl (with glasses) close up is a bit over saturated, maybe a little less magenta could improve that shot, despite I have impression people (in this forum) prefer more saturated colours than me.
But overall good work.
Ron

Haha right on man.

Ron, thank you very much. As of right now, I color corrected that footage to make it a little better.

Drew, I have to say I'm very ignorant and even anti-35mm adapters until I saw a shot a few minutes ago from a Letus35 device. I was absolutely floored. That's the kind of look I want for my films. HD is beautiful but it's very clean. I like a little grain and shallow DOF. I'm sold on the 35mm adapters as of today.

well done george, very effective editing and I love the shot with the candle and the title that comes up. The sound effects gave it a realism. I was wondering what your detail level set at. I've been experimenting with many levels and am going to start shooting a WW2 short soon so I am always curious about what people are using. Good job

Thanks Alan - that's nice of you. I keep the detail level between -7 and -5. For wide landscape shots, I like to go -3 but I don't think I did that with the shots here. Barlow Elton (DVinfo member and XLH1 expert) and I shot a landscape shot a while back with -3 detail level connected via component to his Kona card and I think that was the best performance I've seen my HD100 has done.

I think your trailer looks great! I have a question for anybody and everybody about using diffrent scene files while shooting. Is it better to plan out how you want your shots to look in preproduction and then set your camera setting differently for each differentl "look" you want?

Or would it be a better strategy to use something like Paolo's TruColor for everthing and then do your coloring (and effects-- contrast, wash out, monochrome, etc.) in post?

If you were working on a low to not-quite-as-low budget feature shot on film, would you have that much opportunity to use many kinds of film stock/neg processing variables? Wouldn't such a project be shot with one or maybe two types of film stock (because you couldn't afford to leave around all those short ends) and all the processing done generically by some huge lab like DuArt or whomever?

In other words-- my plan has always been to shoot everything with basically the same film settings. Sure, I'll make shutter, ND, iris, white balance, gain and perhaps different frame/resolution changes (for slo-mo, etc), but I actually thought it would be best to keep the camera settings pretty consistant throughout.

Is it really better to be fussing about with your Red Rotation, Gamma setting, and White Paint (for examples) between almost every shot?

What happens if in post-production you need to use that one scene-- the one shot with that treasured, bizarre, camera scene file-- in a totally different context because the script/story massively changed after production wrapped?

Maat, you have very valid points there. IMHO, I think it's always better to shoot as clean as posssible and tweak in post. Part of my thinking and habit are coming from the DV world that it's better to film using in-camera settings to get the best quality possible. But we've seen from so many films that HDV is quite robust with color correction.

With my project, I have the luxury to experiment with the scene files because of how the script is structured. The whole movie and it's "look" are already somewhat edited in my head.

However, I make a little change in the storyline and that whole plan blows up.