[Bill Moede]

I’m capturing footage from my DVX100A to my Intel macbook pro daily.

Will the camera capture in iMovie?

Another idea, capture in Quicktime Pro.

Bill Moede
Replay Media Productions
Appleton / Green Bay Wisconsin

[Bill Moede]

I’m shooting an independent feature film right now with my DVX100. I also have a Canon XL2 but I like the “film” look of the DVX better. To me, the DVX100 has better contrast latitude and I’m guessing this has a lot to do with the CCD and associated electronics. I’ve shot with the XL2 in bright daylight and sometimes get some strange looking video, where the DVX100 seems to handle ‘high noon” sunlight better.

Bill Moede
Replay Media Productions
Appleton / Green Bay Wisconsin

[Bill Moede]

I still cut on a Quad G5. I have done a little work with HDV material
timeline and rendering is really slow but it does work.

Bill Moede
Replay Media Productions
Appleton / Green Bay Wisconsin

[Bill Moede]

Interesting discussion.

My view on shallow DOF; It’s just another tool. I shoot with Canon XL2 cameras. I found that I can get quite shallow DOF by getting farther any from the subject, shooting wide open (smallest F stop number) sometimes using the ND filter to cut light so I can open up the lens. But, most often I prefer to use the focal length that best suits the mood, or emotions of the scene and not worry about the DOF unless that effect is needed to create the mood or tell the story.

Seems like the latest “buzz” is super shallow DOF, but I think if that’s your main goal when shooting, then your missing the point. I am much more concerned lighting, framing, sharp focus and above all performance, whether the actor is person, train, storm clouds or a car.

Bill Moede
CESA 7 ILS
Green Bay, WI

[Bill Moede]

A a documentary producer, I shoot a lot of interviews. Currenly I shoot with Canon XL2s and GL2s. My current favorite and low cost (and lightweight) setup consists of two hardware store clip on reflector lights ($5.00 each) each with a 150 watt GE Reveal bulb($3.00) on light weight Smith Victor light stands (about $25.00 each from B&H). For back ground lighting I use two hardware store 75 watt halogen work lights ($10.00 each) again on Smith Victor light stands. I don’t use dimmers, I just change the light to subject distance.

Bill Moede
ITL Media Productions

Bill Moede
CESA 7 ILS
Green Bay, WI

[Bill Moede]

The problem is with FCP not the DV deck. I have an XL2 and have had the smame problem. I have found that I need to trash the FCP preferences file about once a month and clean off unused files from my capture drive.

Bill Moede
CESA 7 ILS
Green Bay, WI

[Bill Moede]

By shooting in the 16:9 mode, you are not using the entire area of the CCD chips, so there is a bit less quality. However, if your final product is viewd on a NTSC TV, you won’t see the difference. I shoot a lot of long form stage performance projects and have tried both the 16:9 camera mode and the FCP matte. I do a lot work so tieing up one of my machines with additional rendering time with the matte on 2 hour long projects is not an option.

Bill Moede
CESA 7 ILS
Green Bay, WI

[Bill Moede]

The cinema mode is the same as the Xl1, no it does not look good, almost a strobe effect.

Bill Moede
CESA 7 ILS
Green Bay, WI

[Bill Moede]

I have a new XL2 and have shot some test footage in 24p and 30i and 30p, I get flicker and odd strobing artifacts. I am unsing FCP 4.5 and I assume that I’m just not using the correct capture settings. Anyone have any ideas?

Bill Moede
CESA 7 ILS
Green Bay, WI