But how would you choose between a goose and a gander?
In reply to John Burgan's post on Tue 6 May 2008 :
It depends on how hungry I am. :-D
Actually I am constantly telling young people seeking my advice to buy a cheapy camera for practice. If you don't have the money to go HD, don't worry about it. Just make a movie. It is the only way to learn. My first video camera was a 3 years out of date DV camera. It looked like crap next to what was good at the time. I still managed to make an award winning instructional video on it. The video quality was low, but the subject spoke for itself in the disability community.
Shoot your concert footage on a K-3. Much better in the high-contrast lighting environment.
Any video camera will work well for interviews if you've got a good DP, good gaffer, and a good make-up artist.
In reply to Jarrod Whaley's post on Tue 6 May 2008 :
I'm not sure what "the look" of SD is exactly.
As the happy owner of a Sony A1, I'd recommend the Canon HV20 and a good microphone. And maybe pick up a cheap SD camcorder to rewind tapes with. :)
RE: "the look" of SD
Who doesn't love interlace zippers!
Right, because there are no interlaced HD formats at all. ;)
SD does have a look that is distinct from most HD formats. The DV codec comes with its own kinds of artifacts, macro-blocking, etc., and whether most people really "see" them or not, they do at least subconsciously contribute to the way in which the image is perceived.
My point was that a lot of times people shoot on super-8 as a way of suggesting "old home movies," and that filmmakers might begin using mini-DV in a similar way as HD gains more and more ground.
Anyway, no need to belabor this point any further.
This is about finding my story –
I've shot 16 hours of footage (in Italian, of which I'm not fluent) and need to cut a trailer for fundraising.
I think the footage that was shot is very "trailer-friendly," but I do still need to find my story. And while I directed what we shot, I can understand about twenty percent of it (language barrier).
So, what I'd like to do is get the 16 hours of footage translated then watch the footage and find my story (at the same time eliminating hours so that when I go to an editor, I can have less to sort through).
But someone suggested it would be cheaper to sit with an Italian-speaking editor and cut the trailer.
The thing is, an Italian-speaking editor I'm talking with is asking me what my story is – . . . see?
So, is it possible for me to sit with the editor (while she knows what's being said and I don't) and find my story or . . .
Blugh. Okay. I hope what I'm asking is clear: two avenues (and maybe a third I'm not seeing?) a) translate all footage and look through it myself and find my story and "tag" what I want to use for the trailer, than bring it to an editor or b) start with all 16 hours and an Italian-speaking editor.
Which is more realistic? Cost-effective?
Darla – you're the director, so you need to get the footage translated/transcribed. Otherwise it'll end up with the editor or whoever does understand the footage directing it – which isn't what you want. Get it transcribed with time code and then go to the edit. I can't see any other way to do it.
Okay, Rob. So then I need a tranlsator who can also transcribe.
Know anyone? :)