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Hi All, I’m shooting an underwear commercial next week and it’s the first time I’ll be shooting green screen. It’s a series of five short spots and the reason I’m shooting green screen is so that I can change the background in each to a different pastel colour, so it’s not at all complex VFX, I just don’t want to have issues with keying in post. I’m shooting it at an SAE-owned green screen studio here in Byron Bay, Australia. The green screen is about five meters wide by three tall. I’m shooting 4K DCI C-LOG 2 on a C300 MKII at 10-bit 422. It’s all on sticks and lighting is the

I've shot with standard speeds extensively - they are absolutely distorted! There is a decent amount of field curvature that gives a three-dimensional quality to center-framed subjects. There is also a moderate amount of barrel distortion on all the lenses wider than 40mm. I think they are beautiful lenses and part of why I like them is their distortion compared to anything newer.

Apparently you can tell what it is yet! Jam sync is not fun to code.

OP...that is what separates digital from film. Film does not try as hard to make sense of deep shadows. Digital tries to make sense of it with noise sometimes. If it is a still print you can fix the poor blacks with contrast grading. (dodging and burning) But I don't think it is practical with movies. Maybe they have AI software that can / will be able to do it? Another issue with digital BW is it has too many shades of gray and it sometimes looks kinda plasticy or artificial.

No, all in your head OP. A doc photog's job is to bring home the goods. Their job is not a game to see how hard they can make things for themselves.

Well its an interesting idea .. could the lighting ideas of Roger Deakins be used in some AI program to come up with virtual lighting 3D setups .. given the script, story board and location details !.. you never know .. !

I would go with a clear filter in the matte box and a clear plastic bag wrapped around the camera.

The image fidelity is quite poor. This does bring up an interesting question of shooting things in a wide to crop in etc. I remember watching older RED advertisements that you can 'Shoot in a wide! Crop in, multiple shots in one!' blah, blah. However from looking at the RED image fidelity and also the resolving power of contemporary optics, or even perfect optics I doubt we'd ever be able to seriously crop into an image without impact to the image fidelity, unless we all started to shoot on incredibly large formats.. oh wait... As already with the UMP12k the 2.2 micrometer photo sites ar

Hello, I'm filming a steeplechase runner coming up and the director wants a shot of their cleat hitting the water with the camera right in the action. The camera is going to be on a steadicam, in low mode, close to the ground. Is there an industry standard to keeping a camera dry? It is likely that whatever filter we have in the matte box could get wet also, from the splash. Would we need to put shoot through something else that protects everything?

I work as a Stills Photographer but have started moving over more towards Motion / Camera Department and have done a few AC jobs. I'm putting together a solid AC kit and figured this could be bought used from an AC who is moving on in his career. Looking to buy the following: AC POUCH/HARNESS PELICAN 1510 OR GOOD SOFT SHOULDER BAG, NOTHING FANCY CARBINER SNAP HOOKS STRAPS CABLE TIES VELCRO TIES STICKY VELCRO ALLEN KEY & TORX KEY SETS BRUSH FOR CLEANING DUSTOFF ROCKET SISSORS SWITCHBLADE T HANDLE SCREW DRIVERS - P

Is post editing with the camera original S-Log3 MXF files? Or will they be editing with Rec.709 proxies? Either way, you can make a Rec.709 LUT in Resolve that corrects for your EI exposure offset. Use 33x33x33 .cube format for FS7 in-camera viewing and 65x65x65 .cube for post. I would start with either Sony’s LC-709A LUT or ARRI’s Alexa Rec.709 LUT, and adjust to taste from there. If they are rendering proxies, then they can bake the LUT in. And if they are editing with S-Log3, then they should be able to apply the viewing globally LUT in Avid, without having to refer to metadata o

Making your own timecode slate?

There is one on eBay being sold with a camera. I know its crazy money... https://www.ebay.com/itm/Bell-Howell-70HR-16mm-movie-camera-kit-Angenieux-and-Canon-lenses-1948/133690933159?hash=item1f2099bfa7:g:0IwAAOSwVChgSWm7 But maybe you can negotiate with them.

Does Deakins even shoot anymore? Wasn't he replaced by an autonomous drone years ago? lol

I'm curious to know more about the state of the film industry in Europe vs America, particularly as it applies to independent writer/directors and DPs, from anyone who has experience working there or who lives there. I know that many arthouse films in Europe are produced through grants and/or state funding. What are the pros and cons of this system, vs the typical American system in which a director funds an indie through a well connected producer who knows A list talent or through various private investors? Is one system more prohibitive or better than the other? Who typically has access to t

Looks like a photo to me.

All I see is a do not enter circle... Anyone else?

I saw Heden has released an updated version of the M26VE Motor which claims a higher speed. Has anyone used one of these with a Preston system yet? Trying to gauge its speed/torque in comparison to a DM1x but I haven't seen this new motor in the wild yet.

Covid project.

I think the aspect ratio is far more of a problem 🙂 .. and yes I doubt this persons use of a crappy digital crop in will be putting Roger Deakins ,or even me ! out of a job anytime soon ..

https://www.sony.net/Products/Cinematography/Venice/ Top right Hot button of the LCD screen , set to Cont (continuous ) from Step .. + / - buttons

Hi Kev Do you still have the CODEX? attila@filmgears.co.uk

Hello Friends, these days I am working on techspecs and a postproduction workflow for a TV series. This will be a pilot episode and we want to get the things in order. I am not that aware of Avid so here is my question and I really hope somebody could help me with this. Once the Slog Footage is ingested in the Avid System, all the metadata are not available "on" the footage. (sorry, my english sucks :)) Example: if I shot Slog on an FS7, I use Sonys Catalyst Browse for the transcoding. The software can read my metadata. So if I shot in 1000 EI, it doesn`t look a stop over. I can

What's so special about it? The fact you can stabilize based on the head movement of the person? Or the zoom which is just a digital zoom, nothing special, I punch in like this on my iPhone shots for fun all the time. I don't get why this is anything unique or new? The finished product is ultra-low resolution and looks like total crap. Nobody cares what stuff looks like on their phone anyway.

I don't think that shot is going to give many cinematographers sleepless nights.