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I'm not sure where that still comes from, but it looks a lot like the Glow effect in Fusion; I'm sure After Effects must have something similar.

Never done it, but some people have shot with other HDV cameras for 35mm projection and seemed happy with it. If you have a company in mind for the video to film transfer you should probably have a chat with them about how to get the best image for the final print, as they're sure to have done...

For DV, there's not much point in using expensive capture cards these days. Back when people were editing on a P2-300, the card could do realtime effects that the CPU couldn't cope with, but today the PC is so much faster that it can do more realtime effects than most people would ever use. As...

I shot a play for a friend a few years back using DAT for sound from their mixing desk and a DV camera, and it was only a few frames out over the course of an hour or so. However, I had to copy the sound from the DAT to the DV camera and then capture by Firewire in order to get it to sync: I...

The main issue is that the FX1 doesn't have XLR mike inputs.

Light well.

If you're going to do a telecine and do all the effects on video, then yes, you could do that. But remember that you won't be able to get a film print to show without spending a lot of money.

Given some of the horror stories Lloyd Kaufman had about professional stunt-men, I'm not sure I'd want to trust amateurs even if there were no legal issues. A couple I remember (I think I have the details right) were failing to correctly fit a roll cage to a car before a stunt so the passenger...

How long a shot will the flowers be? If it's just a few seconds, then you'll be best off scanning that section, adding color and outputting back to film. Assuming you want a film print at the end, of course.

Depends on what you want. The XLH1 has higher resolution, interchangeable lenses and records to tape, whereas the HVX200 has lower compression and records to solid state memory cards. Both have their uses. Personally I'd go for the XLH1, but others seem to like the HVX200.

The most obvious difference is that FCP is Apple-only, while Avid runs on both. So to some extent your choice will be made by whether you want to use a Mac or PC.

Good point. Personally I'd say to go back through the script after you finish it and see if there's any line of dialog you can remove, whether or not it's a voiceover.

Technically it's copyrighted the moment you write it, though copyrighting it officially at the copyright office does give you more backup. For America people normally register scripts with the WGA, I'm not sure what they normally do with proposals; the documentary makers I know in the UK just...

For somewhat complicated reasons I'm going to be moving to Saskatoon in Canada in the summer: anyone know if there's anything going on movie-related around there? I have acquaintances in Edmonton who do some movie work, but no idea about that part of the world.

I take it you never saw 'Porno Holocaust' :) ? Actually, I'd recommend not seeing it as the title is the best part :).

You can buy boxes with XLR inputs which attach to the camera and convert from XLR to the right plug for the FX1. So it's not a show-stopper. I know Beachtek make them, I'm not sure of other manufacturers.

Yes. Occasionally it works as a 'style statement', but most of the time it's just a cheap way to work around a lack of imagination.

Another option would be to use wires to move the mop around and do wire removal in post. If the camera is locked off you can probably record a clean shot of the same background and simply matte them out, if the camera is moving then you'll need to do proper wire-removal.

That depends. If it's incidental to the story you're probably OK, but if you make it a major part of the story you could get into trouble. For example, if your character takes the lighter out of their pocket and lights a cigarette, I doubt anyone's going to care. But if he's 'The Zippo Killer'...

Yeah, I've used Lacie drives for DV editing with no problems.