Assorted posts from 2002Q1 -- more

[Edward Troxel]

Most video editing programs will allow you to capture either audio 1 or audio 2 from the XL-1 via firewire. In Cinestream, during capture all that is necessary is choosing Stereo 1 or Stereo 2 before capturing the video. Some programs, notably Vegas Video, will only allow capturing Stereo 1.

[Chris Hurd]

Check www.dv.com for a review of this product by my friend Adam Wilt (from over a year ago, so you may have to dig for it). His conclusions were that it's a little sluggish for video but perfect for breezing through Acrobat .PDF documents.

[Bill Ravens]

For all yu Macintosh afficionado's, check out the new duallie, 1 GHz Mac

http://www.apple.com/powermac/

[Vic Owen]

I ordered one yesterday. I know it's not the quantum leap some wanted (the whining/bashing has already started), but it's a huge improvement over my G3/300, and the price is considerably better than the original price on the DP800.

I was going to upgrade regardless, but what I wanted to avoid was seeing a big price drop 2 weeks after I got the new system. The timing worked out.

I'd been waiting to move from EditDV to FCP -- this now gives me a machine that will make it fly.

Vic

Is there any camera other than the XL1/XL1S in the <$10k range that shoots true 16:9 and offers something comparable to the Frame Movie mode? If not, what camera would we have to step up to get those features? I'm looking to get a film-like, 16:9 picture but I'm not crazy about the fact that the XL1 creates 16:9 by actually cropping pixels vertically.

I'm shooting a film (probably using the XL1S) and want to get as close to a film "look" as possible. Do you have any thoughts about shooting PAL? In his book "Digital Moviemaking," Scott Billups makes some good points about the benefits of 25 FPS, higher resolution and color space of PAL -- but his book is mainly about shooting in DV and then printing to film. We won't be printing to film -- we'll distribute on DVD and Beta SP (NTSC.) We're editing on a Media 100 XS. Given that, do you still see a benefit to shooting in PAL?

[Chris Hurd]

I think that if you can afford it, it's not a bad idea. But you'll need a PAL monitor, and a PAL DV deck unless you want to tie up the camera during video capture. If you're prepared for all the additional expense, then go for it... but personally I believe a "film look" is more about lighting for film, than an NTSC vs. PAL debate. You're halfway there with the XL1 already; it's a great choice for getting a "non-video" look.

Also, Scott's points are also revolving around some aspects of the ease of 35mm transfer from PAL video. Some tape-to-film houses prefer NTSC video, others prefer PAL. See the "DV to 35mm Guide" on the Watchdog Articles section.

[Chris Hurd]

Unfortunately, no. The least expensive native 16x9 cameras are the Sony DSR500, the JVC GY-DV700 and the Panasonic AJ-D600. Of these, the Panasonic will look closest to the Canon flavor of video. Starting price for these cameras is in the neighborhood of $10K, plus lenses.

Best bet for the XL1 is to hold out for an optical 72mm anamorphic adapter, or shoot in normal 4x3 and crop in post.

I'm shooting an independent film and have a choice of cameras I can use. Initially I had planned to use the XL1S, in Frame mode and 16:9 ratio.

I now have the option of shooting on the DSR500WS instead, which would give me true 16:9. I haven't done any shooting with the camera yet, so I'm wondering if anyone has experience with it and can tell me if it has anything comparable to the XL1's Frame mode, to give the image a film-like look. Also, any thoughts about cutting video from the two cameras together if I decide to use the XL1S as a 2nd camera?

[Kevin Triplett]

Wow, wish I had the dilemna you have, Bill! :)

The DSR500 is a nice camera ... from what I hear you need to spend some time with it or find a DP who's familiar with video and can spend some time getting to know the image manipulation controls on it. You can crush or expand the shadows and the highlights in addition to gamma and color control.

Also from what I've heard, you can't get the "film-look" that you can with the XL1. What you get in exchange is better resolution and better tolerance to high contrast ratios.

One more thing ... with the 2/3" CCDs, you can get a shallower depth of field, for that cinematic look (subject in focus, background and/or foreground out of focus). This also contributes to the "film-look."

If the shutter speed is able to dial down to 1/30th of a second, you can get a comparable look. It won't look like video, it'll have the nice motion blur similar to film.

Hope this help! Have fun with your production!!

[John Locke]

Chris, I saw your banner saying you'll be speaking at the DV New York Show. What exacly will you be discussing?

Any chance they plan to videotape the workshops and lectures and edit them down into instructional videos/DVDs?

[Chris Hurd]

John, my assignment since I chose to accept it: a one-hour workshop/lecture/class/bitch session entitled "Choosing the DV camcorder that's right for you." I won't be wearing my Canon hat for this one... it'll be broad-based, rather basic in scope and include some buying tips, like how not to get ripped off. I'll try to post my notes after it happens. Don't know if it'll be taped -- I doubt it. It's all rather low-key.

I'm shooting a kitesurf video and have to look for the best possibility to record footages from the actor. For this a very light (100g) minicamera will be mounted on different positions at the kite. The composite signal of the minicamera should then be connected to a DV recorder.

For this I was looking for different possibilities like portable DV recorder (Sony) or miniDV cameras with analog in (Sony PC120). The recorder will be carried by the actor water protected in a backpack .

Does anybody have some hints, advises or recommendations. I do not know whether the Sony PC120 gives sufficient quality.

[Bob Zimmerman]

I'm thinking about buying the Apple PowerBook. But when I was reading the small print on Final Cut Pro it says "a 667-mhz Powerbook G4 is required for mobile G4 real time effects in DV format" What do they mean by mobile G4 real time effects?
I was just wondering because I was probably going to get the 550MHz PowerBook. You people out there who use the Apple PowerBook have told me that my XL-1s should work good with this computer. I just want to make sure it will run final Cut Pro

[Ken Tanaka]

PowerBooks and Macs all have built-in FireWire (1384) ports, which is how you would capture footage from, say, an XL1. You should have no compatibility concerns regarding your XL1 and Final Cut Pro / PowerBooks.

The "real-time effects" refers to tha ability of editing software to build effects such as certain transitions without requiring a break in workflow for "rendering" the effect (i.e. building the effect frame-by-frame). Final Cut Pro 3 recently introduced this feature for some effects when operating on certain minimum processor platforms. FCP will run just fine on a 550MHz G4 PowerBook but you will have to render all transitions.

Honestly, this is really more fluff than substance for most users. Feel free to get the 550 for use with FCP3.