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

Upcoming mini35digital feature
 

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.

Swordfish & Veritas
 

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.

Wow
 

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