Cinema Verite' 08

This sounds very interesting in theory, so how does one go about this in practice? It is clear that an A-Minima is an ideal but VERY EXPENSIVE solution. If one can believe all the hype regarding the RED cameras, the may make a 'break even' solution. The A-Cam is an afordable solution that may be easilly modified, but how does one prove the system at a 'grass roots' level?

Saturday, February 23, 2008

PRODUCTION STANDARDS

  1. While the long term strategy allows for the cohesive use of a number of 'higher end' cameras that HARMONISE the mix of digital media and real film, with grass roots technology. It is important to maintain PUBLIC access... a SEMI-PRO PORTAL.
  2. It is proposed that DV1 and above be the minimum definition in Mov & AVI formats with conventional compression, not ADVHC.
  3. Sound should be at least Cd quality 48khz STEREO, if a CAMCORDER such as the CANON HV20 or above is used, external microphones and recorders should also be used.
  4. Conventional MOVIE SOUND PRACTICE should be followed, so uploaded sound bites are AMBIENT, DIALOG, F/X or SCORE. CLIPS should include no more than one type of attachment.
  5. It may be seen then we may begin on the PRE REQUISITE Dolby 5.1 sound track Immediately...
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So far as the video image is concerned; a new approach is necessary to make an ACL video feed of the quality desired. The use of a 'sidefinder' has been proposed by lesbosher, this would solve the problem of flicker in the ACL and if one uses a 17-68 ANGENEUX, then the system will be capable of HIGH DEFINITION / SUPER16 imagery.


Look at the new exploratory arrangement... with the EXPENSE of 'reworking' the finder to provide accurate coupling etc, the only choice is the Canon HV20. As the ZR40 arrangement evolves into a PRECISION CANON HV20 instalation; I will add a TECH FORUM so other possible Camcorder / camera combinations may also be discussed..
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