SIMILO
Sunday, March 19, 2006 at 12:10PM Less is more generated some great comments. Keep 'em coming!
There were a couple of mentions of other 35mm lens adaptors, including the Mini35 and the Micro35. I certainly don't want my extolment of the G35 to come at the exclusion of these other options. As I mentioned, I've shot with the Pro35 and had a terrific experience. I'm excited to see so many options created by people who are clearly passionate about accessible cinema.
What specifically entices me about the G35 is that it is small enough that it allows a DV camera to be a DV camera. I could see myself taking it with me wherever I brought my DVX.
The G35 came to my attention after I saw an excellent short film that was shot with an early "beta test" unit on a DVX100a. That film is SIMILO, and it was an entry in the dvxuser.com sci-fest competition (although ultimately it was disqualified).
SIMILO official site (a very high quality H.264 Quicktime here)
Filmmakers Zacharias and Macgregor shot this lovely piece totally guerilla-style. Check out this behind-the-scenes still (more like that on the dvxuser.com forum). Anytime someone reminds me it's possible to make images like those in SIMILO with that kind of minimalist setup, I get excited.
Reader Comments (11)
Hey Stu, what do you think of the RED camera by Jim Jannard of Oakley?
Hey Stu, what do you think of the RED camera by Jim Jannard of Oakley?
www.red.com
Greetings!
Is that thing even in existence? Apart from the all CAPS spec pages there's nothing there but 'coming soon'
are most of these adptors used with SLRs? Does it change their focal length? A couple of years a go I tried the eos adaptor with the xl-1 and was surprised to find that because the ccd was much smaller than 35mm it shifted the focal length of all the lenses so they were almost unusable. I assuming this isnt the same with these adaptors because they are shot through the video camera lens, basically the image goes throught two lenses. Is this correct? Really beautiful images on all the sites.
Also I couldn't see a price on the G35 site does anyone know how much that adaptor costs?
Hey Josh.
The adaptors don't change the focal length like the eos/xl-1 combo - as the 35mm adaptors put the GG plane on par with that of a 35mm film plane. That means the light hit in exactly the same place so all focal lengths remain true. that's why you can achieve the DoF.
Hi Luis,
I love Jim's eyewear and footwear, and I am prepared to love his camera! :)
Any idea when the G35 will release? I've been waiting forever.
Hey Stu,
i really appreciated your comments on this. i too loved the professional simplicity/poetry of SIMILO (and i never even got to hear it in English). thanks for bringing it to our attention.
i'm a new user to the panasonic series with a HVX200. i hope i can make some things close to as nice as that-it's definitely the art of the story-told really well. While i'm working on that in my own work i still have to learn how to turn this HVX200 on- so any ideas, sites or tips would be awesome. i'm a total newbie in this area, but i really want to learn.
thanks for taking the time to help us all out with your experience and wisdom in the field.
Jeff Petersen
Media and Programming Director
Granger Community Church
jpetersen@gccwired.com
i am a documentary filmaker working on mid level budget episode series and in development of a recent project i have tryubg to push the limits of pro-sumer equipment to produce.
i have only recently discovered the benefits of HDR imagery and have been fiddling with the latest AE7pro and its 16/32bit capabilities.
i understand the benefits this has for still photography taken for motion graphic projects and the fact that film will always beat digital with regards to moving image and dynamic range.
this is not what i am getting confused with though. i am looking at my 8 bit DV footage and HDV which will be rezzed up to HD/sd (8/10bit). will there be any benefits to working in these 16/32 bit envoronments with this type of footage.
i guess my question is how can i work with higher bit depths with DV / HDV video? ( or is there no point at all and i should stick to the native daepth it comes from the camera).
bit of a long message yeah -
thanks
Matt K
Hi Matt,
This is probably a good topic for a future arcticle. There are many good reasons to work in higher bit depths when starting with 8bpc footage. The reasons to work in 16bpc (integer) are slightly different than the reasons to work in float. Suffice it to say that 16 int is like 8bpc but with less chance of banding, and float is like 16bpc but with less chance of losing info in the highlights and shadows. That's a horribly short answer to a very deep question, but hopefully it will tide you over until I can post more!
Stu, you may want to goto another place also...
http://xlcinema.com/