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I don't know about other cameras but the scene files in the HXV200 allow for setting the color temperature as a value in the file.
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Oct 26, 2009 15:06
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SquareDog posted:Last week we lit the poo poo out of a large night EXT without a genny, not that you're "wrong" or I'm "right", just saying is all. it likely looked like muddy poo poo with the faces barely reaching 30 IRE unless it was a parking lot, near a stadium or only a series of close ups with the light just off frame.
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Nov 14, 2009 23:04
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read this: live it. http://www.wired.com/rawfile/2009/11/video-dslr I swear the next time I see some loving hipster prick take out his faggy D7 on a set I'm going to go Kayne and smash it to bits. They can take it out of the production insurance. gently caress all of your HD video.  7219/5219 motherfuckers.   link included for all you DVRebel cretins Mozzie fucked around with this message at 06:19 on Nov 22, 2009 |
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Nov 22, 2009 06:13
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I thought I had to share this with someone. If you can find Scene 3 / Slate 10 / take 2 (British System) I will buy you a god drat forum upgrade. I really cherish the completely non-nonsensical totals on the side, I don't understand what the gently caress is going on here. See that 001/1 at the top? There was multiple pages to this poo poo, on 3 different rolls. If you are going onto a second page on a camera report you are likely doing something wrong. Including the scratch test is really the coup de grace. I am sure the lab really appreciates the 6 feet of footage they are never going to physically be in contact with. Truly it boggles the mind. edit: I forgot we also did a tail slate somewhere on the beginning of roll 001. Jesus Christ. Some self busting, I had a accidental roll out recently because I misscalculated the side margins while rushing and some how turned a 23 into a 15 so the mag rolled out 70 feet early. AD was pretty pissed especially since we were down to one good mag as the others had registration problems. I swear it was the longest 25 minutes of my life unloading the mag, cleaning it, putting in a new load, scratching testing it and having a massive loving base scratch, then having to run lens tissue on every loving roller, pressure plate, and light lock I could get into, finally reloading it and running it to the set just in time for them to break for lunch anyway. If I did something like this report I would honestly just blow my brains out from shame. Mozzie fucked around with this message at 09:30 on Mar 1, 2010 |
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Mar 1, 2010 09:21
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It was a trick question as I don't know the answer. I'll see how they reverse engineered it with the script supervisor to let you know if you're right. And of course it was an SR2, loving thing basically just chews film and spits it back out.
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Mar 1, 2010 10:46
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Andraste posted:I have a huge hard on for china ball lighting after a shoot this weekend. I was gaffing a short and I lit 90% of it with a kit of china balls and bulbs that all together cost less than $200. I keygrip/gaffed a studio set and the cinematographer really who loves her china balls. Though there was specific character looks that involved a leko and tungsten fresnels the china balls ended up being used a lot. A big thing is because of the haze effect those created nasty beams that really gave away the source. The balls created just an ominous glow in the fog and really added nicely to the low light atmosphere.  I suggested top softboxes on dimmers that could be rotated from the catwalk by an electric for highlighting certain places if needed. She ended up not really needing them though. Here is a way I rigged the balls:  The cable is coiled along the arm and taped at the end. The knuckle is on the opposite end for a counter weight. It makes it a nice tight unit and very mobile. The grip stand can easily be swapped with a maffer clamp and the whole thing tossed on the grid, the arm lets it be raised and lowered easily. The low mount makes it great for pulling on the floor as we had a lot of the scene with one character on the ground. Just tossing the bare ball on the floor doesn't work as it's a safety issue and the bulb won't hang properly. It's really a pain in the rear end with flaring though if the camera dept doesn't have a bottom flag. I ended up getting a grip to just stand by with a small flag and just hold it under the matte box when necessary. One moment I was proud of is when I threw a dimmer on a low china ball and sparked it as a character lit a candle and then dimmed it as he walked away. I don't know how it looked as the show was 16mm but it looked great from where I was. PS I hate avenger Grip stands, avenger makes sub standard equipment. Matthews forever. And I hate Kinos, they create very ugly shadows, are finicky to set up and accept in very specific circumstances always look like kinos. They also create very ugly eye lights. Another thing China Balls do better. Mozzie fucked around with this message at 20:09 on Mar 24, 2010 |
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Mar 24, 2010 20:06
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no one is shooting tons of stuff with the 7D in the commercial world. There are dumb exceptions by morons but I guess they like terrible looking footage that can't resolve 720P line chart and has one of the worst codecs ever imagined for a native format. (wonder why AVCHD gets laughed at?) HDSLRs are for weddings, morons, indie garbage and C-Roll edit: I will admit the have a great form factor. A sensor with a lense mount is the future of digital cinema, but it can't be putting out this.  When real money is on the line, poo poo like this doesn't cut it. Still, it looks pretty good on vimeo for you shallow DoF clips of your dog. Mozzie fucked around with this message at 05:31 on Apr 1, 2010 |
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Apr 1, 2010 05:25
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Walnut Crunch posted:Talking to people in the know, just the light issues alone are going to change a lot. They think in the next few years commercial crews will be dropping from in excess of 40 people to 9 or 10. The creatives will remain but the grip trucks, big rear end generators all that will be on the way out. Nope, No, and no. I don't even have to justify my argument because the HDSLR crowd is almost as stupid as the red crowd. P.S. that commercial looks like poo poo. (USER WAS PUT ON PROBATION FOR THIS POST)
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Apr 2, 2010 01:31
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Finally amateur hour is over. http://www.arridigital.com/alexa  800 EI at 3200k 13.5 stops of latitude Made by a real company, not some jackass sunglass maker rehousing still CMOS's into an xbox. I can't wait for my local houses to get some.
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Apr 16, 2010 02:29
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don't waste your time Tiresias, idiots will continue to make terrible poo poo and defend it to the death while not understanding why it's terrible. Then they'll stop working, and be remembered as technicians instead of artists, and hopefully die alone and forgotten. Yes they are killing our industry but techs are worth nothing anyway, it's the creatives that have lasting careers. Remember kids! crush the blacks! shoot 4k! use gain, light with kinos, edge light women, back light the men, output to 1080p, output to H264, upload to vimeo, watched once and forgotten P.S. gently caress anyone who calls themselves a cinematographer without exposing a negative, you're a Videographer, jerkwads. Edit: here is something legit, read the article in AC mag for this month about the Production Summit. The big problem with a lot of visual people today is they forget how to see things. To many creatives these days the creative process with finding something they've seen they could practically just cut together what they are being inspired by to make the same product! I find one of my biggest influences is just when I see something that catches my eye, I look at it and think of what I find compelling about it and how I could create that. Stop trying to create "looks" and start creating emotions, idiots. Stop defending your terrible work and stop smelling everyone elses' farts. Too many fanboys, all I want my camera to do is do what I want it to. Mozzie fucked around with this message at 06:14 on Apr 18, 2010 |
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Apr 18, 2010 05:57
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butterypancakes posted:Trailer for the finale of House. Lets rack focus across every surface. Also the camera jitter isn't distracting at all. terrible
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May 13, 2010 02:39
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pfff 8mm? thats for babies. I've always wanted to try the PL mounted 6mm nikon clairmont has. http://www.clairmont.com/spec_items/6mm_nikkor_lens.html  nothing like having to be worried that the tripod will be in the shot.
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Jun 23, 2010 20:46
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personally I am not a fan of full frame sensor size since everyone always shoots wide open and it makes focus very frustrating. don't get confused by focal length conversions. All focal lengths are always the same regardless of the format. The different is the size of the film/sensor (window) Bigger window, wider picture. Focal length simply changes how big things are outside that window. A 25mm 16mm bolex lens is the same as a 25mm ziess master prime, difference is the bolex won't cover the full area, but it's still the same fov, just obscured DOF is always the same for a focal length (focal distance IE focus effects it greatly)
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Aug 17, 2010 16:26
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Tiresias posted:Simply not true. The formula used to calculate DoF uses not only the focal length of the lens, but the Circle of Confusion, distance to the subject and f/stop. yes if you want to get into the details but that's not what I am talking about. optically a 25mm lens has the same DOF for a given focal distance as any other 25mm lens. No exceptions. Of course resolution, f stop effect beyond that.
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Aug 17, 2010 21:47
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Nope. While practical DoF comes into play from the CoC, resolution, etc. Mathematically the light converges exactly the same regardless of sensor size through a given focal length. What I am saying is a 25mm lens with behave exactly the same, with the same optical dof whether it's on a full frame sensor, APSC, 35mm film gate, 16mm, super8 etc. edit: first half of this video when he changes from 4k to 2k demonstrates the point pretty clearly. http://blog.abelcine.com/2010/05/14/a-lens-is-a-lens-is-a-lens/ Mozzie fucked around with this message at 04:28 on Aug 18, 2010 |
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Aug 18, 2010 04:23
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Today I learned from a stereographer that the focal plane mark on red one cameras are actually an approximation of the actual location of the sensor, and that the depth of the sensor plane is variable based on manufacturing tolerances. Basically the whole engineering process of putting together the camera can be summed up as such. That's always great, that the depth of the sensor is variable, good luck getting that stereo rig to work, fags - Jim Jannard
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Nov 25, 2010 04:36
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Tiresias posted:I can understand how that's kind of upsetting, but I don't think that'll be much of a problem. Sure, pulling tape may be off by a few fractions of a millimeter, but that doesn't have much relevance unless you're shooting super critical focus. More so it means the mounting plate isn't consistent to where the sensor is, meaning each time two red ones are put on a rig they have to be carefully calibrated for depth, you can't trust that they'll match up just because the mounting distance isn't identical. edit: I can't remember now since this story was off hand, but I also think it was they aren't perfectly laterally aligned either. I imagine they just squeeze the CMOS out of a cake icing tube or something I really don't know how they mess this up. From what I remember they said they'd update the manual to warn about it so if anyone has an updated one take a look and see if it mentions it. Mozzie fucked around with this message at 16:25 on Nov 25, 2010 |
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Nov 25, 2010 16:22
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Walnut Crunch posted:Isn't careful calibration what makes shooting 3d so hard anyway. From what I've heard careful calibration isn't anything held to just RED when doing 3d. I can say in a professional capacity that the 3DA1 sucks a fat one and is going to contribute greatly to people hating 3D. (non adjustable Inter-axial distance, or as Panasonic calls it the old way, inter-optical) Mozzie fucked around with this message at 17:27 on Nov 25, 2010 |
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Nov 25, 2010 17:24
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Jalumibnkrayal posted:I think it's crazy to expect someone who wants to try filmmaking to first become a perfect photographer. They have different challenges, and the poor sod could spend years perfecting his Rembrandt triangle. Then when he finally transitions to video/film, he realizes that everything moves and it shits all over his pretty three point lighting setup. Yes, because stethoscopes also aren't ever used to check blood flow or anything, but it doesn't matter because your opinion is wrong and you are stupid for having it. I am sure Stanley Kubrick was just being a jackass when he said that to understand cinema you must have a strong understanding of photography. Having experience on the behaviour of light, exposure, image, language of composition or perspective must be a real useless toolset to have when you can just throw a 50mm lens on your 5D and start making cinema right on your macbook! edit: look mom, this looks so great on this 3 inch screen! And it looks wonderful on youtube!! PS, I keep a light meter in my backpack sometimes if I find a cool location and I want to get a general idea of ambient light, but why should i care about lighting when I can crank the ISO up to a billion and then process the h264 footage in premier pro CS5 on my macbook with a desnoise filter and upload it to vimeo for 6 people to see. Mozzie fucked around with this message at 01:12 on Dec 1, 2010 |
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Dec 1, 2010 01:07
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G&E these days, also camera oping on documentary recently and 1st/2nd AC whenever I can. I also do DP stuff on the side but not so much anymore because I am so god drat broke.
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Dec 2, 2010 06:26
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Wow, the last like 7 post are on my ignore list. What the hell is going on in this thread? Edit: Jalumibnkrayal posted:I'm sure you're a pleasure to work with. Difference between you and me is I am. Exponentory, If you have problems with loud pricks who have giant egos and have low tolerance for horseshit from below then the Camera Department isn't for you. When they say its where the art meets the science, it should be where the money meets the drama. Seriously this thread borders on terrible sometimes, It's like HV20.com or whatever in here occasionally. Mozzie fucked around with this message at 06:07 on Dec 3, 2010 |
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Dec 3, 2010 06:01
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Dr. Fishopolis posted:don't invoke that name don't you dare  don't you understand... my nikon extension tube adapter with self poured wax ground glass is just like film  everything about that image makes me angry, the worst I think being the super cardioid being blocked by the top flag of the mattetbox. Edit: also how is he operating there is no monitor... what the gently caress? Mozzie fucked around with this message at 06:51 on Dec 3, 2010 |
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Dec 3, 2010 06:46
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exponentory posted:no all i'm saying is i've met people that have acted like that and it never comes across as favorable, nobody likes that I don't care what department you're in. I've met some of the nicest people on films in the camera department. I just wanna read more cool cinematography posts If you one a one stop shop for good cinematography posts just head over to Roger Deakin's forum, he responds to questions almost daily.
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Dec 3, 2010 20:26
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SquareDog posted:So a guy walks in to our rental shop for his 5D order and asks, "Can you make a setup that will hold two cameras so I can shoot video with one and stills with the other for this music video?" this, this is the death of cinema right here
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Dec 24, 2010 06:26
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Hey Steadiman do you know Michael Heathcote? Also how angry does this picture make you? (stolen from a friends facebook)  From other pictures, yes he was grabbing it from the post
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Mar 22, 2011 04:55
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So the new NAB Alexa line up must be making red poo poo bricks right now. https://www.youtube.com/watch?v=orUvQ29OsIM
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Apr 14, 2011 03:22
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I'd compare it to a leatherman to a rock
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Apr 14, 2011 20:01
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Can anyone explain to me what is so special about Pace and there fusion camera over most other rigs on the market? I hear that Pace is making GBS threads on all the competitors like their setups are worse than hitler and I don't see what the big deal is.
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May 6, 2011 23:34
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does anyone have experience using an SI 2K mini as an A-cam? I'm thinking of using s16 lenses with it too.
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May 17, 2011 01:18
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short of specialty applications and 3D, I never hear of an SI-2k or SI-2k mini being used as just a straight standard camera.
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May 17, 2011 06:00
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Cool bit on the camera rig being used on the new transformers movie that was designed by the place I work at. http://www.firstshowing.net/2011/watch-behind-the-scenes-of-the-skydivers-from-transformers-3/ Shame they never mention that it isn't actually fusion3D/pace camera, drat james cameron taking all the glory.
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Jun 3, 2011 02:23
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Slim Pickens posted:My video instructor just showed us the scene 64 editing contest on the "The Power of Few" website. um there is an editing thread for this kind of stuff Finally my company released a news update so I can tell you the company. They did it before I started working there though. http://www.3dcameracompany.com/inde...c-news&Itemid=6 https://www.youtube.com/watch?v=oLpx7PQDOpI
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Jun 7, 2011 00:06
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Just loving rent for christ sakes. Insurance isn't an excuse most low end video places will let you buy their insurance.
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Jun 28, 2011 02:45
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I'll start taking opinions from zacutos when they stop making rods that don't loving bend never
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Jul 17, 2011 05:49
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How to solve ever red problem ever: shoot on alexa.
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Aug 17, 2011 01:23
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Great, another raw camera in a horrible form factor. I can't wait until Silicon Imaging releases an update to the si2k that's just a pineapple.
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Mar 14, 2012 01:57
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ogopogo posted:Had a chance to monkey with the Arri Alexa-M on set the other day. Aerials, remote heads, process trailers, confined spaces, etc. It has it's place, but it's mainly for 3D applications. (being part designed by Pace)
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Apr 9, 2012 23:31
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With all this camera crap these days I'm gonna start shooting si2k out of spite.
Mozzie fucked around with this message at 02:06 on Apr 16, 2012 |
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Apr 16, 2012 01:46
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can someone ask black magic what the gently caress they are thinking with a smaller than 4/3 sensor with a loving EF mount? Too small for s35, too big for s16, just a stupid stupid camera.
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Apr 17, 2012 16:51
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If it actually had a s16 sensor it would be attractive, not this in-between poo poo.
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Apr 18, 2012 08:51
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