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project on DVX100/EX1
I’m not sure if I should be posting this in the DVX or the EX1 forum. But I will start here.
I began shooting a feature documentary on the DVX100 two years ago in Japan. Now I am going back and will continue to shoot. But in the meantime I have gotten an EX1 and a GH2 (dslr).
My initial impulse was to continue shooting on the EX1 and do a false letterbox on the DVX footage and try to match it. And to shoot some b-roll transitional shots on the GH2.
I love the footage from both these cameras, but I am worried that for acquisition most broadcasters (POV, Independent Lens) are going to want HD footage and that is why I’m leaning towards shooting with the EX1. So this is for broadcast and eventually DVD, as well as festival screenings.
Am I making a big mistake changing horses midstream? Should I stick with shooting on the DVX and are there are any broadcast quality docs being shot on the DVX. Any examples of films that have mixed footage from both? Or should I just switch to the EX1 and edit in the DVX footage where those sequences appear in the film? I would say that what I have shot so far is about 35-40% of the film.
Thanks for any thoughts and bringing to light what I might be overlooking.
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3 Replies
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Definitely start shooting with the HD cameras- better to have some of the footage in proper HD than none. I doubt a broadcaster will make the decision solely on format- more the content. Course it has to be just that much better now but you get the idea…
Noah
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Canon 5D Mark II and 7D.
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Thank you for your reply, Noah. My gut was telling me to switch over to HD. Do you have any thoughts/suggestions on using both footage in a film–I guess what I’m asking is are there any tips on how to deal with the DVX footage I have shot already? Several of the scenes I shot on the DVX are very important scenes and would be impossible to shoot again.
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Movies mix formats all the time to the point that audiences almost expect it these days. I’ll leave the technical details to you to figure out what looks best on screen but I don’t see it being a problem at all from a viability perspective.
Noah
Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Canon 5D Mark II and 7D.
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