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  2. I only drag from the card to the master drive. Then once my files are copied to the master (from the SD Card or whatever I'm using) I use Path Finder to sync to the backup drive. I'll then check the byte sizes are the same on both folder/file on each drive using 'cmd + i'. If they're the same then Path Finder has synced everything fine. I do the same if the files I'm syncing didn't originate digitally on a (SD) card EG, film scans. I've spoken to DIT's on set about offloading, syncing, backing up etc. From my understanding, a DIT's workflow on set usually goes something like this (programs may differ DIT to DIT): Insert card (video and/or audio) to card reader > use Shotput to offload and create checksum verification > sync to clone/backup drives using Path Finder > check byte size on each drive and make sure size is identical on each. Sometimes they will create LTO's on set. However I've found this to be rare and it usually happens later in post. Then the drives go to wherever they need to go, usually one stays with production the other is sent to post. I don't know what the workflow is like in the US and other countries, but what I have explained I have found to be pretty common in the UK.
  3. Please email sales@broadcastsolutions.com for pricing and details. Canon EOS C700 FF Camera Packages Qty.-2 AvailableCanon EOS C500 EF & PL Mount Camera Packages Qty.-2 Available
  4. Today
  5. Selling my beloved factory super 16mm converted Bolex SBM. Comes with the following: - Les Bosher PL mount adapter - Bolex C mount adapter - 3x 100' 250D, 4x 100' 500T (just purchased from Kodak) Works flawlessly. Asking for $3500. If you're located in LA, feel free to come by to check it out. Photos can be viewed here: https://www.dropbox.com/sh/fatb3eheoaie9ft/AACSVnboX7BduVIkqc76VK38a?dl=0
  6. https://filmmakeriq.com/lessons/dynamic-range-iso/
  7. A great series. Multiple old-time artists give advice on being an artist. See if anything is useful for you. https://www.artsy.net/series/how-to-be-an-artist ...sometimes all you need is one gem to makes things click.
  8. Onsite, offsite, in the field while working, whatever.
  9. . Great thread Guy! For the little guys this video shows how to use a single HMI on a tight budget. Also shows the difference a HMI makes with outdoor sun shots.
  10. https://filmfreeway.com/festivals Looks like there are thousands of listings. Use the search parameters to find what is of interest.
  11. Yeah, i'm thinking the same, but switching cameras would take a while. I'll figure something out for now, but yes, it'll be inevitable. Thanks!
  12. haven't dealt with these numbers in several years now, and really forgot how to read them. I only know it seems way off, but could someone remind me how to read this stuff? this is what I got from the lab reading of our gray card: 0.27 0.60 0.99 is the reading in the perf area. Thnaks all.
  13. I'm going with X-ray damage on clip 2, because light leaks are usually yellow/orange. It's directional because of the angle at which the X-rays have struck the film- think of a beam of light, some parts of the roll will be in "shadow". Clip 1 is just very bad light leak through the spool flanges- you've lost several tens of feet instead of the usual few feet. The left of the frame is probably fogged as well, but that's the sprocket side so it doesn't matter. If you had shot standard 16 you would probably have got away with it.
  14. I shot this take in Africa in a documentary, and with REC709 when ponting to the sun, it went solarize... Do you know why? This is a footage from 3 years ago... We shot it with slog2, and in slog without the the lut we saw this problem. If I sotpped the image darker, obvoiusly dissapeared... Now im going again, but with Slog3.. jeje... Did you have this issue with the sun in slog2? or with f55? or what are your thoughts??
  15. Fellow artists, my name is Qazi, I am a professional Cinematographer, Editor, Colorist in LA. I run a studio called The Post Village. For those who are brand new to filmmaking and not sure what's next. Let's start here. I curated a list of essential PRODUCTION gear you need to get started and become the ultimate content creating machine. Watch the FULL video here: FREE LUT (Teal and Orange) included for those who are interested. Created from scratch by me. I will show you how to properly use it at the end of the video. Check the video description on YouTube. Bless up!
  16. 10 NEW FEATURES in DaVinci Resolve 16 BETA 2 In this video, I will share my top 10 favorite features that are newly added with the latest BETA 2 update in R16. If you are on the fence and need a nudge to upgrade to Resolve 16, this video might do the trick. FULL VIDEO When you are plowing through 100s, sometimes 1000s of shots a day, time is the most important factor in determining your success or failure. The features you will see in this video will help you save a significant amount of time and make you a much more efficient colorist. Reply and let me know if you found these features helpful. And guys, I will be giving away a FREE Powergrade. Watch the video to find out more. As always, I do my best to make these videos entertaining and fun to watch.
  17. LTR parts are hard to find. I do have an original Aaton rail adaptor for that camera I believe. I just don't have any rails! Shoot me a line and I'd be more than happy to talk to ya about it.
  18. Hey guys, here's a still from a law firm video I shot. Let me know what you think could be improved. Don't be afraid to be hard on me, I need to learn! I used a godox sl-60 through a 6x6 diffusion panel. The script was him saying lines about himself and the firm, with b-roll shots cut in.
  19. This is another example where forethought and planning can save your budget. The problem shooting daylight exteriors is that the sun moves throughout the day, so lights are needed to maintain continuity between shots filmed at different times of day. If you plan your shots properly, you don't need as big and HMI as you may think to maintain continuity. With proper planning you can get way with nothing more than a 4kw par and 1.2kw Par - which you can run on a modified Honda EU7000 generator with a Transformer/Distro that provides a single 60A/120V circuit. The approach that I find works best is to wait to shoot the establishing master shot until the sun is in a backlight position. Up to that point shoot the close coverage under a large silk (12x or 20x.) Shooting the close coverage under a silk offers a number of advantages. The silk takes the direction out of the sun and knocks down its' level by two and one half stops so now you can use a smaller HMI to create consistent modeling in all the close-ups. Shooting into talents' down side under a silk, I find that a 4K par through a diffusion frame is a sufficient key source for a good size shot. You need the diffusion because a bare par will be too harsh. When shooting close coverage under the silk, nets behind our talent will control the background from blowing out. The advantages to waiting to shoot the wide master until the sun has moved around to a back light position are many. One, the background is also back-lit so the discrepancy in exposure between the background and our talent under the silk is not that great and so you can open up to gain exposure of our talent in the foreground without burning out the background. Two, your background looks better because it is not flatly lit, but has some contrast. And three, with the sun in a backlight position, the shadows of the silk frame and stands are thrown forward, which enables you to frame wide without picking up the shadow of the hardware. Finally, since the silk takes the direction out of the sun and knocks down its' level by two and one half stops a 4k HMI par has enough output to create the look and feel of natural sunlight. For more detailed information on powering 4k HMIs on portable gas generators, I would suggest you read an article I wrote on the use of portable generators in motion picture production. Guy Holt, Gaffer, ScreenLight & Grip, Lighting Rental & Sales in Boston
  20. The problem shooting daylight exteriors is that the sun moves throughout the day, so lights are needed to maintain continuity between shots filmed at different times of day. If you plan your shots properly, you don't need as big and HMI as you may think to maintain continuity. With proper planning you can get way with nothing more than a 4kw par and 1.2kw Par - which you can run on a modified Honda EU7000 generator with a Transformer/Distro that provides a single 60A/120V circuit. The approach that I find works best is to wait to shoot the establishing master shot until the sun is in a backlight position. Up to that point shoot the close coverage under a large silk (12x or 20x.) Shooting the close coverage under a silk offers a number of advantages. The silk takes the direction out of the sun and knocks down its' level by two and one half stops so now you can use a smaller HMI to create consistent modeling in all the close-ups. Shooting into talents' down side under a silk, I find that a 4K par through a diffusion frame is a sufficient key source for a good size shot. You need the diffusion because a bare par will be too harsh. When shooting close coverage under the silk, nets behind our talent will control the background from blowing out. The advantages to waiting to shoot the wide master until the sun has moved around to a back light position are many. One, the background is also back-lit so the discrepancy in exposure between the background and our talent under the silk is not that great and so you can open up to gain exposure of our talent in the foreground without burning out the background. Two, your background looks better because it is not flatly lit, but has some contrast. And three, with the sun in a backlight position, the shadows of the silk frame and stands are thrown forward, which enables you to frame wide without picking up the shadow of the hardware. Finally, since the silk takes the direction out of the sun and knocks down its' level by two and one half stops a 4k HMI par has enough output to create the look and feel of natural sunlight. For more detailed information on powering 4k HMIs on portable gas generators, I would suggest you read an article I wrote on the use of portable generators in motion picture production. Guy Holt, Gaffer, ScreenLight & Grip, Lighting Rental & Sales in Boston
  21. Yesterday
  22. I'd talk to Girvan at Ablecine in LA. They still have spare parts / accessories for Aaton 16mm cameras and he may have a factory original solution for you
  23. As suggested before try loading your camera in total darkness, you get rid of those light burns and you take advantage of your film. I have seen a similar problem with the Krasnogorsk K3, the film counter window lets light in and causes the same slow flashing effect that I see on your film. I can tell is more noticeable when you shoot at night or with less light. Judging by the grain I think those were shot using 500T which obviously is more sensitive to light coming either from the lens or a light leak. I always tape around the joint of the mags, no matter what camera I'm using, no matter if it has an actual magazine or no. Try doing that, that's a good thing to do for several reasons and it may fix your problem. I use a still photography flash to find leaks on cameras. I point the flash towards the lens, I cover around it wit with gaffers tape, T-shirts or whatever I have to keep the light traveling only trough the lens and so I don't see direct light from the flash, then remove the pressure plate, close the cover and start firing the flash (wireless makes it easier) and you can try taking pictures or seeing with your eyes to try to find a light leak. I agree with Tyler, it may be X-Ray damage too.
  24. Yes, I know. But as I stated "other dp's can chime in also". There my be other ppl with the same questions, we can all learn from David as he have a wealth of knowledge that he don't mind sharing. I didn't want this to be private, hence the reason I asked publicly.
  25. Hi David! I've read just about every page of Ask David Mullen Anything on reduser. I would have asked these questions there, but for some reason my membership hadn't been accepted yet (after creating an account about a yr ago). If I missed these q&a's on there I apologize. My questions are: when you study other cinematographers, how exactly do you study them? When you're looking at their work, what are the things you're looking for and paying close attention to? How do you do a film analysis of their work? Do you take notes? If so, what kind of things are you writing down? If you have questions about something, how do you get those questions answered? And if you have questions about something, generally, what are those questions? I know this is a lot that I'm asking but I'm trying to get a deeper understanding (and a different/new approach) on how to study the works of my favorite cinematographers, and just break down some of my favorite movies in general. I already look at a ton of bts and buy dvds and blurays that offer bts. Other DP's are welcome to chime in also. Thanks!
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