New 20x HD Video Lens, Enhanced Image Control and Other Refinements
LAKE SUCCESS, N.Y., April 10, 2008 – Building on the success of its acclaimed XL H1 High Definition (HD) camcorder, Canon U.S.A., Inc., a leader in digital imaging technology, has introduced the new shoulder mount XL H1S and XL H1A HD camcorders, which include new advanced features requested by professional users for improved operation and image control.
Canon’s new XL H1S and XL H1A camcorders, which will be on display at the 2008 NAB Show (Booth #SU3020), feature an updated Canon 20x HD Video Lens with three independent manual adjustment rings (focus, zoom and iris), as well as enhanced manual focus and zoom control. Additionally, the XL H1S and XL H1A incorporate an expanded array of controls for customizing the image, display, and operation to match individual needs.
When you’re EDITING, you can make good decisions just watching the Canvas Window on your laptop.
But for color grading, it’s critically important to watch your show on a monitor that’s displaying an accurate image. Monitoring is important because all your color grading work is going to be off if the monitor you’re watching while you work is not telling the truth.
Think of all the ways viewers might watch your project. If you’re delivering on DVD, your show might be watched on plasma or LCD TVs, projectors, or older CRT TVs - but they also might be watching the DVD on …
You’re shooting with your new HDV or HD camcorder, and the footage looks amazing! But are you really seeing the full picture?
Not unless you’re looking at a high definition monitor. But professional HD monitors are still expensive.
So, here’s an idea:
You can buy a LCD TV/computer monitor (the lines are being blurred more every day) that can be used for three different purposes:
1. While shooting, you can run component (like from the Canon XL H1 or XH A1) out of your camera into component input on the LCD to monitor what you’re shooting in full, pixel-for-pixel …
If your projects are going to be delivered on DVD or broadcast, it’s important to have an accurate studio monitor on your desk so you can see your project as your viewers will see it while you’re editing.
Why?
First, many editing programs show you a low quality “proxy” of your timeline, so you can’t judge color correction, brightness, saturation, contrast, how titles or graphics will look, or any other aspect of the picture accurately.
Can I just enable a second computer monitor to show video and that will work?
With some editing programs, you can enable a second monitor to show a …
On the Canon H1, Rodney Charters says:
"We did manage to get footage out of the Canon and upload it to the D5 no problem. And it was this footage that we viewed at Level 3 post, where it made an amazing comparison against the 35mm dailies. The imagery was almost identical except for that nagging problem of almost infinite DOF. It confirmed our belief that this was the sharpest and best picture of the bunch."
article part one
part 2 here
Tips on shooting DV with film output in mind:
- Choose your tape-to-film transfer house before you roll tape. Consult with them and use the settings they recommend for your DV camcorder- interlaced/non-interlaced, shutter speed, etc.
Have feature films been shot on DV?
- Yes! Click here for a list of feature films shot on DV.
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Celtx is the first comprehensive software package designed for people who work in the Pre-Production of Film, TV, Theatre and New Media. It provides all of the tools you need under one application and works on all platforms.
Story Development Tools
Celtx includes Scene and Character Development tools that help spur creativity. Use the customizable forms to build out the story line of your project. Any information will be added to your project database and automatically pre-populate your script and reports.
Professional Script Writing
Import, write and edit …
A film festival judge shares insight from the experience
in hopes to help filmmakers submit (and be accepted to) film festivals:
http://boards.withoutabox.com/viewtopic.php?pid=26554
There are several formats of video people call “24p”:
- true 24p
To capture this, you’ll have to create special capture and sequence presets. But it’s a very rare format.
- 23.976
This is more a much more common frame rate. Use the appropriate capture and sequence preset. (Note: FCP calls 23.976 “23.98″ for some odd reason).
- 24p with pulldown (actually 29.97 fps, aka 59.94 fields/sec, aka “60i”)
Capture and edit using 60i presets.
- 24p “advanced” (2:3:3:2 cadence - actually 29.97 fps, aka 59.94 fields/sec, aka “60i”)
Use the capture preset in FCP titled “DV NTSC 48 kHz Advanced (2:3:3:2) Pulldown Removal”. This preset will capture at 29.97 (that’s what
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