make a point about something Jan Crittenden Livingston said

[Noah Kadner]

One note- Jan is a lady.

-Noah

[Jan Crittenden livingston]

Hi,

That was my point. 😉 If the story is good, the problems will just not matter.

BTW I am a she, not a he.

Best regards, and good luck with your film.

Jan

[David Battistella]

Jan,

I am not disagreeing with you regarding story. The story will always win the day. But that doesn’t mean we should shoot everything on Super 8 either, or digital 8, or high 8 or dust off the old VHS camcorder for the next big film. I am pretty sure Antoniod’s original question was about “ideal” workflow situations. Shouldn’t he try to get the best/most image out of the camera?

Yes. I know that there are ten ways to Sunday on this, but to give the impression that shooting letterbox is better or equal to shooting squeeze or anamorphic, is just not good advice.

It will always come down to story, but for those people who want the best quality out of your DVX100 cameras:

What is Panasonic’s ideal workflow for film finish?

Thanks,

David

Peace and Love 🙂

[Jan Crittenden livingston]

David,

That is not what I said. The young man had a problem, all of his footage was shot, done, over in the can. To tell him that nothing he can do will salvage this is A. mean, B. Not entirely correct, and C. diverting his attention away from where he needs to be, and that is to cut the footage.

Can something viable be made with his footage, yes. That was my point. To take anything I said as the best way is not right. My words were to lead the young man away from thought of work down the drain, to move it forward to the edit suite. Concentrate on telling the story, don’t be distracted by what is, just work to get the best out of it. It can still work. Follow the dream to completion.

That’s all.

Ideal workflow. 24PA, with an anamorphic, but that is ideal and frankly I find the anamophic can be difficult, so I might flipflop between Squeeze and the Anamorphic for the establishing shots and squeeze for the close ups. But I have seen them all work.

Best,

Jan

[David Battistella]

Jan,

I agree. I did not want to be harsh and I can see why you would be supportive and push the focus on what could be done. Good advice.

I was just coming at it from the “learn from the experience” perspective.

I’ve been shooting squeeze and I think it is the best trade off when upconverting because I feel too much of the lens is lost with the adapter.

David

Peace and Love 🙂

[Antonio De la cruz]

This is funny. First I just want to clarify something. I was aware when I shot my film “Salsa Lessons” that there was going to be a loss of quality. But my DP was told that at the end of the day the adapter was going to do more harm than good. All I said about the point Jan (she not a he) made was that going up to HD does help.I mentioned the film “Iraq in Fragments” by James Longley, the film was shot in letterbox on the dvx100,then on the dvx100a, the film won best cinematography at Sundance.What does that mean? It means that the initial letterbox image was good enough to get that award. Obviously he went to HD and then finally 35mm film but as I mentioned before your film will always be in the format you started in. You can improve the image here and there but it will always be in the original format.

Yes David if I were to shoot the film now I would shoot in squeeze mode, actually I would take Jan suggestion and actually do adapter in wides and squeeze in close-ups. You know what I am actually going to upgrade to the Panasonic AG-HVX200, and just simplify matters.

Seriously this speaks to the fact that there is so much information out there some errouneous and some true but I am glad that we have this forum to make things easier for alot of people. I admire David’s passion and also the fact that we have peole like Noah and Jan to help clarify things. Stay positive! By the way I am about to finish the first rough cut and I am very happy with the results.

Antonio