Filmshooting

I guess the question I have about the HDV to HD show tape work flow that Nathan proposes is a question of realistic post production costs to get the cinematic feel that HD movies like "Climates" has. Sure, if you are a post production technician with lots of expertise and experience in co...

mattias wrote: that's part of it, but the main difference is that optical grading costs $5 per cut, which you will never be able to match in a digital suite.

I could, if I used the workflow listed above, with no intention to print to 35mm.

Wouldn't it be better to convert the HDV files to uncompressed, then edit a SD dub, connect the timeline to the uncompressed files, export uncompressed and then take the hard drive to a posthouse for HD screening copies? what's the difference? when i what i convert the hdv files to isn't really par...

you're not gonna pay more if you cut the neg, time it optically and scan it to hd though, and then you're all set for a much cheaper blowup if you need it. Well, I guess that depends on whether a cut neg is significantly cheaper to transfer to HD than scanning lots of bits of footage from many sepe...

Or shoot HDV, cut in an uncompressed space and finish onto a HD screening format for a virtually no cost post production workflow. you still need a powerful computer, an hd sdi card for output, a deck and a professional hd monitor for grading. you can rent those but then it's not a no cost workflow...

Or shoot HDV, cut in an uncompressed space and finish onto a HD screening format for a virtually no cost post production workflow. ....I still prefer film by a mile though.... ...if I shot film... Super16mm --> One light SD scan --> Create EDL --> Best light HD scan --> Digital Grade and Cut --> HD ...

I'm intrigued by the HDV format, but have yet to work with it. I am not convinced that shooting higher ratios will yield better films and I suspect that shooting HDV might save on production costs, yet increase post-production costs and also decrease the final production value. For this reason I'm ...

I will either go for no music or get friends to do original soundscapes completely signed over to me. oh, but "we'll get a good deal on this famous pop song the actor is singing in one scene. i know a guy who works at sony". /matt What are the quotation marks signifying? Anyway, "pop...

yes, for example people think they can afford a team, but even a small team of eight people or so costs a lot of money, and if you pay them peanuts and feed them peanuts they will be grumpy, which is no fun, and then people think they have to spend more than half the budget on post production, beca...

to be honest i'm not so much into that range myself. i think €20,000 is a good budget because it's small which gives you freedom, and a €500,000 because it's reasonable. between them there's too much work and angst. i've worked on some of those so i know. /matt Well, if its self funded ...

Either this is self-funded or Sweden is a film making Mecca. I'd like to know! sweden is a good country for art- and "young filmmakers" grants. it's very easy to find a few thousand euros for your film, as grants with few strings attached and no responsibilty to make any money back. the r...

HDV is actually not that bad, in fact it can look pretty good. True, there's a lot of pompous nonsense in the cinematography world about highly-compressed HD formats. Truth is, unless in exceptional circumstances a good HDV camera (JVC-HD210 for instance) produces an image which looks as good as an...

mattias wrote: this one is an art piece with a dreamy setting, no mainstream ambition, and an ok though low budget, which sounds a lot like super 8, thus.

Either this is self-funded or Sweden is a film making Mecca. I'd like to know!

Ok, that's it. This nihilism being expressed is getting to me, so I'm going to shoot the investor trailer for my current project on S8 just to go "neener-neener" to those dismissive of S8 as a shooting format. No one is dismissing super-8, but 16mm makes more sense and has about a thousan...

...yeah, I believe it. That is cool. I'd love to see you tackle a project like that - working in a very controlled set with lots of focus on a single subject. Some kind of universal - timeless location - but like Bergman's a single location without a lot of jumping around. Have you seen any of Matt...