Posts Tagged ‘HVX200’

 

How Much? – 12. July, 2007

That’s the big question of the moment. How much should a thesis film cost?

I’ve seen both ends of the spectrum. I knew someone that spent well over $100k on her 30-minute thesis and I have a friend that probably spent $100 on his 3-minute thesis. Granted I can’t predict the future (at least not all the time) but where will their thesis films get them? They’ll get some recognition, get into a few festivals, but I don’t think they’ll land features as a result of their thesis films. No, the days when studios handed out contracts to film school graduates are over (if those days ever did exist). It’s the rare individual that makes the leap from thesis to studio feature (odds are just slightly better than winning the lottery).

So, if I am to make a thesis (can you sense my lack of resolve at this moment), how much should it cost? When I was making 16mm films, I had a formula. 1 minute of 16mm screen time = $1k. This proved true. A 2-minute film cost me around $2k and a 7 minute film cost me just over $7k. I then went on to make a 60-second 35mm film that cost $6k; we built a set and had a huge crew.

As I stare down the financial barrel of the thesis, I ask myself “how much should I spend on a 12.5 page script?” Is $25k too much? What about $10k? $5k? Should I blow the money to build a set? What about renting a Varicam? Isn’t the HVX200 good enough? Why not shoot SD?

How about the bigger question that scares the s#!t out of me – should I even be shooting a thesis? Should I be concentrating on making a feature?

Thoughts? Opinions?

Posted in Last Night

To HD or Not To HD – 20. May, 2007

Or, more appropriately, what high definition format will I shoot?

Yes, it’s true, I’ve given up on shooting film (either 35mm or 16mm) for this project. Why? Because my film is acting intensive, I’m a perfectionist and I just know in the pit of my stomach that we’ll be shooting tons of takes. Even if it weren’t a function of money, it’d also be one of practicality. I’d probably be shooting 400′ loads and that gives me either 4 minutes (in 35mm) or 11 minutes (in 16mm) per mag. Compare that to a 30 minute tape that doesn’t require a loader and, well, it starts to make good sense.

But I’m not out of the woods yet. There are tons of options for HD acquisition. Of the commercial feature films shot digitally today, there are three high-end choices: the Panavision Genesis (SUPERMAN RETURNS), the Thompson Viper (ZODIAC) and the Sony CineAlta (SIN CITY). All three are great 1080p cameras but all three are so expensive, technically complicated and proprietary that it just doesn’t make sense for an ultra low budget short film.

No, I think I’m down to either the Varicam or the HVX200. Both are made by Panasonic (renown for their DVX100 series) and both can shoot 720p @ 24p (which Macs w/ Final Cut Pro can seem to edit natively). What are the big differences?

The HVX200 records onto 4 or 8 GB P2 cards, so there is no digitizing from tapes. The camera is slightly bigger than today’s handicams which allows you to be inconspicuous. Lastly, the camera is very inexpensive to rent.

The Varicam records onto 15, 30 or 60 minute tapes, it’s a shoulder mounted camera (broadcast size) and it rents for 2x-3x of the HVX200.

Both, by the way, can record at “off” speeds; it can shoot fast and slow motion.

So why am I going with the more expensive Varicam? First, better lenses are available. Second, the P2 cards present some problem both with “dumping” and storage. Third, the camera has 2/3″ CCDs vs. the 1/3″ of the HVX200 (so it naturally get a more shallow depth of field). Lastly, it commands greater respect. I know, that last one is lame but it’s true.

But if you have any experience with any of the above mentioned cameras, let me know.