I mentioned in my previous post that the Canon HV20 has poor manual control. While this has been amply documented elsewhere, here's a brief summary of why, in the form of a description of the Sex Positive workflow.
We used Cinema Mode. Consult your HV20 user's manual for the customary misunderstanding about camera modes with the term "cine" in their name: "Give your recordings a cinematic look by using the CINE MODE." No, that's not what it does. What it does is remove the clippy, contrasty gamma that makes consumer video look good to Ma and Pa Birthday Cam, and replace it with a clean, low-contrast curve that extracts as much dynamic range as possible from the CCD. CINE MODE is important with this camera—don't leave home without it.
We always used a 1/48th shutter. As readers of The Guide know well, a 180 degree shutter is not just a good idea, it's the law. Violate it and you've got audiences who've never heard of "Viper" or "Genesis" walking out of Apocalypto saying "What was with the scenes shot on video?"
We didn't have a ton of light. We had two 650W lights and one smaller one, and we blacked out windows to make a night interior out of a day shoot. The main light on the talent was a 650W diffused by a muslin. This meant that the HV20 needed to be "wide open" at 1/48th. Here begins the wrestling:
- In CINE MODE, shooting 24p, aim the camera at something plenty bright, like the mus.
- Use the joystick to enable manual exposure
- Give the PHOTO Button a half-press to check the f-stop and shutter speed. You need a MicroSD card [EDIT: Actually it's a MiniSD card, thanks Mike!] in the camera for this to work, even though you don't intend to actually snap a still.
- Adjust the exposure up until you see the magical combo of F2.4, 1/48. Best to overshoot to F2.8, 1/40 and then toggle one notch back. The HV20 can open up wider than 2.4 (to 1.8), but not when it's zooomed in. So the amount of zoom necessary to frame up the adaptor's groundglass is a factor in reducing light sensitivity.
We monitored in HD. Using a noga arm, I mounted an Ikan V8000HD to various places on the camera depending on our configuration. Mounting this LCD upside-down allowed me to see the image right-side-up, and since the Ikan is HD, I could actually see if my subject was in focus, which is a constant fight at f1.4! The Ikan runs on Sony camcorder batteries, but we just powered it with AC, mostly to keep weight down.
We shot to tape. In a tight apartment with a critical mass of gear, we shot to tape. You can eek an "uncompressed" signal out of this camera's HDMI output, but the last thing I wanted to do was drag a computer around with this rig. I've been experimenting with using Re:Vision Effects's new DE:Noise plug-in to reduce compression and noise in my HDV footage, and the results are very promising.
We boomed to a box. Rather than pipe the input from the boom mic into the HV20, we recorded to an M-Audio MicroTrack Recorder (another good choice would have been the Zoom H4). This tool audio level management off my plate (unlike the DVX100a, the HV20 has no convenient audio input level knobs) and ensured a high quality, interference-free signal. We slated manually and have the camera mic audio to help us post sync our dailies.
As you can see, there are trade-offs with this setup. One of the great things about basing a DV Rebel shoot around a prosumer camera such as the DVX100b, HVX200, or Canon XH A1 is that your rig grows with your capabilities and never gets in your way. It actually prepares you for a future of shooting with a Varicam or a Viper. With the HV20 on the other hand, you're off the reservation. You've go no leg to stand on when your camera fails to support your cinematic needs, because you bought it in the toy aisle. And yet, if you hop on one foot and wave the rubber chicken just right, you can make amazing images with the little guy.