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Showing content with the highest reputation since 10/21/19 in all areas

  1. 6 points
    For me, dreaming... I'm not so much dreaming of film or digital capture. I'm dreaming of a great script with a visionary director and most importantly: The time to shoot it properly!!!!
  2. 2 points
    We ship about 750 packages per year with FedEx. Never any damage or loss. They are inspected with low dose x-ray scans. With the help of FedEx rep we tested 500T and passed it 2x, 4x, 8x in the scanner. Compared to the control (0x) no measurable density change was found on densitometer readings even on 8x.
  3. 2 points
    I think with Arri we are probably very close to releasing a new sensor. They are going to have to move on from the 10 year old sensor tech quite soon or be left behind in the market. (this is a guess, but at some point they have to update and that has to happen in the next 12 to 18 months or Arri risks being wiped out by the competitors) If you can pay off the Amira before that happens, then your fine. But if Arri come out with a new range of cameras (with new sensors), I think it would kill your Amira rentals. Rightnow people will rent Arri's with 3.4k sensors because they want Arri colour science and can compromise on resolution to get it. (Alexa LF and 65 being too expensive for most budgets). The Alexa still rents because there isn't a super 35mm Arri with 4K+ resolution as an option. Of course also an Alexa shooting 3.4K is still good enough for most things. But once there is a new Arri 4k/6k (what ever), people are going to want that.... Not the old tech. So you'd ideal want to pay off your investment before that happens, an Amira would still be a nice camera but its going to be as popular as a F35 or D21 is now. The market will want the latest tech (even if the old tech is fine) The FX9 at least is a newer sensor/design and because its FF and 6K, it could still be marketable in a market that has the next generation Arri's in it. The FS7 has been a solid investment for many freelancers with a decent level of demand, in the UK its become the default (non Arri) broadcast and industrial camera. If the FX9 continues that trend it could be a good buy. Depending on the market but in the UK the FX9 would be a no brainer in that budget range. The issue with RED's is clients may be looking at the top end 8K super death skull version, rather then the 5K Gemini (even if its better). So you might loose out to people with the higher spec, people booking RED's are usually doing it so they can go 8K.... blah blah blah weapons.... Otherwise the Scarlets and the Epics would still be asked for... Its always a gamble though and dependant on what the local prod co's look for. For instance Black Magic make some decent cameras but I've never seen a job posting in my market for an Operator with BM camera, they all ask for Sony FS7, Arri or RED. Or save money for the new Arri....
  4. 2 points
    The first time you go out to work on a movie as a cinematographer and the director says he wants to do a deep focus effect and shows you a frame from “Citizen Kane”, it would get real practical very quickly. There are few touchstone reading materials for cinematography but Toland’s article on shooting “Citizen Kane” is one of them.
  5. 1 point
    I'd be happy to scale the budget back and shoot on a DLSR if we could stretch to hiring Hoyte Van Hoytema
  6. 1 point
    It's all about sound editing using multiple tracks of synced effects and music, so it just depends on the people doing the sound editing and mixing. You can resolve back to 24 or 23.976 at the end but everyone has to be working at the same rate.
  7. 1 point
    Ohh 4 perf with 1.33x neat! I just got some rolls of Eterna 400! Haven't ever shot with it before. 😛
  8. 1 point
    Fuji Eterna 400 4 perf open gate 35mm with Hawk 1.33X anamorphic for 1.85:1 finish Would look a bit different.
  9. 1 point
    Hi Webster, Remember, a normal shutter is 180 deg. By shortening the shutter, you are eliminating motion blur and making each image sharper. In musical terms, the footage looks more staccato. By shooting the 90 deg shutter in combination with the 22 FPS, you add edginess to the movie. It looks great! I don’t believe your friend about the 40 mph. Over the five FF pictures I worked on, we had stunt drivers driving on the edge. G
  10. 1 point
    For me, I think it’d be 5-perf 65mm on the 1.25x Ultra Panatars from Panavision. It has the most incredible look, and I prefer the workflow of film on-set. Things are done less by committee, and people respect when the camera is rolling.
  11. 1 point
    I'm with Tyler on the make-it-internal. If you want bulk storage, it's still hard to beat spinning metal. If you have the spare power supply capacity and the space, rack up four, six or eight SATA drives and use RAID10. Works like a charm and is absolutely the cheapest, most reliable way to buy storage.
  12. 1 point
    My dream would be Panavision and classic old anamorphic lenses and 35mm. Or 65mm Panavision. Preferably all photochemical but, well, digital projection would be okay too. Much less of a headache to get the thing finished, out there, and seen. But you know, it's already been mentioned twice - a great script and a great director I think is the key to a wonderful film, assuming the money can be found (I think, with difficulty, the money can in theory always be found - there has always been and will always be very rich people and companies who can fund things). The problem with scripts and direction is that we've somewhat lost our way as a society in understanding, on a popular level, fundamental things about entertainment. It's not about explosions and violence and things like that. All of that stuff is just seasoning, but it's not the meat and the vegetables. Great movies are always, always about the classic, common themes that beset all people. The human condition. War, worry, loss. Trying to find love, despite all. Suffering, sacrifice, doubt, faith, happiness, hope. If we can find a great script, we can find the director for it, and we can find the acting talent because a great director will have the talent to see the potential in an actor, discover it, and bring it out. That's the way it's always worked. It can be done again. I see signs, from my occasional visits to the cinema over the last few years, that the film industry is slowly working its way up to the creation of some truly great classic films again. There's been some really impressive films released in the last few years.
  13. 1 point
    True! I've been blessed to work on some projects recently with some visionary directors. Where It's hard to find them, they do exist and being the DP for one is really rewarding. Now time to shoot properly is a hard one. I would push for more time on set, even if it meant changing the script a bit in order to keep costs down. You'd love working me tho, my scripts have so much fun/interesting lighting. camera angles, locations/sets, etc. Of course, when I write, I can envision the entire scene and I make heavy notes on a scene by scene basis.
  14. 1 point
    It is quite difficult to get smooth motion by speeding up 24fps originals to play back as if it were shot at 21 fps. To do this, one must eliminate 3 frames every second. And those missing frames will show an obvious jump of action. There are frame blending techniques in post to try to smooth this out, but it doesn't always look good. Shooting a 21fps original means that there will be equal time between each frame/exposure and the motion will play back smoothly, although it's still possible that viewers will perceive the cheat and the effect can look fake. Our brains are very sensitive to the look of gravity and "fast motion" capture can hit us as fake, depending on the type of action.
  15. 1 point
    XOCN requires a special recorder that docks onto the back of the camera, so it's no different then adding a 3rd party raw recorder. You MUST transcode before editing as well, which makes it worthless. Canon Raw lite is just JPEG2000 and it works fine, but it's only available on ONE camera! Why does the entire fleet not have it? I'd be totally fine with it. It was just an example of an available codec. See, nobody can buy Red Code, but they CAN buy Pro Res Raw and I bet Blackmagic would license their codec as well. Red Code works great, it really does. It's my favorite to work with because it has so many compression ratio's and it decodes so nicely on a decent GPU. Red has (in my opinion) the best post workflow for Raw and if they licensed Red Code to other vendors, they'd be in trouble due to how good it is compared to the quality of their imagers. To me, what codec your camera records is high on the list of importance. I'd go for a "decent" imager with the best codec, over the best imager with a shitty codec. What's the point of a great imager, if you can't capture those images?
  16. 1 point
    Most PL anamorphic lenses are heavy and would need to be supported if you're just using an adapter to C mount, so on top of a lack of wide angle choices you would need to sort out rods and a lens support for your Bolex. The lightest PL anamorphic option is probably Kowa anamorphics which you can sometimes find at rental houses. Vantage make PL anamorphics for S16 which go quite wide, but they are expensive to rent, and will definitely need support. Ideally you would use a follow focus attached to rods to focus, but I don't know of any that attach to the little Bolex rod accessory, so you would probably need to try and adapt a standard base plate with rods to the Bolex. As mentioned, using a C mount lens with an anamorphic adapter may be a better and cheaper option, though that brings its own difficulties with support and focusing. There was a Bolex anamorphot accessory made in the 50s that attached via the other lens mounts on a turret Bolex, but it's a rare beast: http://www.bolexcollector.com/accessories/filter50.html
  17. 1 point
    I use incandescent's for practicals. They sell blue ones that match 5600 pretty well. Very easy to find on line, just order some state side. They make them in 150's and 250's.
  18. 1 point
    Don't own something unless you HAVE to own it. If I had 20K sitting around I'd put it into some kind of investment fund; and then use the interest it generates over it's lifetime to buy the things make my life easier--- such as fav filters, or maybe a special light, or literally anything but a 20K computer which may or may not be outdated every single year because of an announcement at NAB. It is sad, in many ways, that we are to the point where the camera is nearly disposable. 'Course if you asked this when the Amira launched, then sure, go for it. But think about all those buys who just bought the Alexa LF; only to have the LF mini come out. . .
  19. 1 point
    Most CFL is kind of crap. And aside from that the output it kind of crap. But, they can and will work in a pinch. It does depend on which CFL bulb. I have used the Kino branded ones, and they worked fine. For LED, Quasar has bulbs which work find, and in the past Cree made a good 100W equiv 6000K LED which worked fine. The problem is, with CFL and LED, is that there are so many out there now you really need to test which-ever one you'd going to get on camera. I would say (and though I'm not a huge fan of the 120/300d) If it's a paid gig, i would 100% get one of them, or go with a 2K Gelled. Or even renting older Kino Flos, which seem to be able to be had for a song (as everyone in LA seems to be throwing them away) would be a better choice.
  20. 1 point
    I can't go back to any skins tones other than Arri skin tones
  21. 1 point
    Expose for the mood you want -- at a base ISO that gives you a minimal noise level that you can accept -- and then avoid changing your mind in post and brightening the overall shot or the shadows. A face can move through a room and fall into all sorts of levels depending on the lighting, which is natural. If you want more flexibility with pushing colors, use a lower ISO rating but then watch your clipping.
  22. 1 point
    shot with Sofia Coppola today.. really nice lady and easy to work with, digital of course 🙂
  23. 1 point
    I had a big street scene in "Westworld" with three cameras shooting wides, mediums, tights, etc. -- we shot all day into sunset and past it. It was overcast until noon and then the sun came out and then it went behind the buildings by the afternoon. I had two 18K HMI ArriMaxs on a condor behind the main building but the overcast was too bright to let the HMI's do much of an effect, but as soon as the sun went down and it started to become magic hour, then the HMI's recreated a good sunlight effect. So these frames from dailies show the overcast weather in the first half of the day, then the high noon sunlight, and then the late afternoon backlight augmented by the HMI, with just the HMI creating the backlight by the end of the day for the last close-ups. So the first frame with Jeffrey Wright in close-up has the 18K HMI's on his head in backlight but they can't compete with the brightness of the overcast daylight, but the last frame of Anthony Hopkin's close-up shows the same HMI's now reading very strongly because the daylight is weaker in comparison.
  24. 1 point
    Hi Mark, I’m actually not a fan of the Lightranger. For me, it reduces focus pulling to the same as playing a video game when you have to keep the overlay bars over the subject. It takes all of the story telling intuition out of play. I keep it pretty simple. I use a Preston FIZ, a Small HD 1303 monitor and for Joker, a cinetape. Now I use the CRT Focus Bug system. It’s much better than the cinetape and simple. G
  25. 1 point
    If you want to enforce them you can use a Clear-Filter and a Mattebox on Rods where you can adjust the distance of the Filters to the Lens. On some Commercials i used a Clearfilter on a micro-clamp and a nogaarm mounted flexible controllable in front of the Lens to get some Light reflections.
  26. 1 point
    I gave my nephew a cheap Chinon camera when we were all on a trip to Italy about 6 years ago. He was 9 at the time, and absolutely loved it. He was thrilled to see the footage a month later, because he had forgotten what he shot while we were there. It's ridiculous to think that a kid won't like that. He had so much fun. Also, he had no idea i was bringing it on the trip for him so the whole idea of shooting film was a foreign concept. He thought a lot about what he'd shoot, and actually made a pretty cool little film with the 2 rolls I gave him.
  27. 1 point
    An example of the Helios 58mm on a full-frame camera:
  28. 1 point
    I once got an RAF airbase for asking nicely.
  29. 1 point
    Talk to the Hotel owners and ask them. You need owner permissions not staff. Its tricky to get locations for free but it is doable, here are some things you could try: - Play the numbers game, lots of places will say no. But a small percentage may say yes, there are lots of hotels - keep calling till you get one. I needed a record store, I was prepared to call every single one in a 30 mile radius till I got a yes. (fortunately the first one said yes) - Don't worry about following up emails/calls. Sometimes you need to be a little persistent. People can be slow to respond or forget, so a little gentle pressure is ok. Nagging or being annoying is not good. I normally ask once and if I haven't heard, follow up about 5 days later. If they don't respond to the second enquiry, move on. - Use social media, people may respond quicker to twitter/facebook requests. - Get peoples names and use them. Find out the name of the owner and then you can write "Dear Ms Smith", rather then Dear Sir... the personal touch works better. - Be flattering, "I want to use your location because its stunning". Say something nice about their business, explain why it would be great for the film. Its harder for people to say no to the nice positive person saying nice things about their gaff. - Plead poverty, if this is uncommercial or student work say so, maybe that will help. Play the student card hard, get your uni's public liability insurance doc's etc.. - Use your network, do you have family or friends that work in/own/contacts at a hotel? The chances are you know someone that works at a location you could use. Maybe they could put in a good word for you so its not a cold call. If you are student, you probably have friends that work in Hospitality. Network, Network. - Pitch the project - get them excited about it. I got a location last week because they liked the script and wanted to get involved. At that point they had "brought in" to the project and didn't mind when we overran (a little) - Visit the location, meet the manager/owner in person, then you can explain why the project is important to you and explain how unobtrusive you'd be. - Be flexible on dates and times, avoid trying to shoot when they are busy, if you can work round their schedule maybe they can help. -Be creative with your location choice, do you need a whole hotel or just a bedroom, or just a hallway etc... Maybe the "hotel" in your film could be a composite of several buildings. If your at a Uni, some Halls of Residence have a Hotel vibe. E.g any bedroom could be used, then you just need a hotel exterior or generic reception. Little bits of art direction could help sell the idea. Air BnB can be a good way to find cheap locations. What locations can you get easily and can they be adapted to your script? - Offer something, even if small - either some money, walk-on-extra role, or publicity, credit or free labour (e.g I'll shoot a promo video for you etc) - Pick your location carefully, a busy central London Hotel will probably say no, but a quieter branch out in the sticks maybe... I've just finished shooting a shot with some amazing locations that I got for free. My approach was to be friendly and honest about my resources and upfront about the size of the crew etc.. Some of the locations that said yes were a real surprise. Aim high, you never know you might get it. Also follow up with these rules on shooting in a free location: - Explain clearly to the location what you are shooting in advance, I had students that secured a location for a scene but didn't tell them the scene was a bank heist (armoured police we called) - Turn up to the location on time and try to finish your shoot on time, be realistic about your schedule - Don't damage the location or make a mess, if its a domestic location have the crew take their shoes off. - If the schedule changes or gets cancelled - don't forget to tell the location. Keep them in the loop, remind then a couple days ahead etc.. - If the location is a business, be sensitive to that, don't make their life more difficult (having a film crew around is annoying enough) - Send a thank you note/present/wine after the shoot, credit the location, send a copy of the film/screening invite. Its important to look after the location and be grateful, if you have to reshoot any elements you don't want to have burned any bridges with the location. Also by giving the location owner a good experience, your paying that forward to future filmmakers. E.g if they had a bad experience letting a film happen, that means no more film crews will be allowed to shoot their. If they enjoyed it, future filmmakers may get similar offers of help. Good luck - play the numbers and don't be disheartened when people say no, just jump on the next one.
  30. 1 point
    Apparently, JOKER had an eight minute standing ovation at the conclusion of the picture!! I was told that is unprecedented at the Venice Film Festival. A great start! G
  31. 1 point
    Thanks guys. I need to convince A24 to make prints! What's interesting about exposing and grading black and white is that you make day scenes brighter than you normally would, since it's your only tool to strengthen transitions between night and day. This is not fully portrayed by this first trailer, which has a very high number of shots from our "dusk" and "dawn" scenes. This film was much different than the Witch. This time, the night scenes around the "lantern" that look so dark in the movie were nearly blinding on set. It also has a proper black and often good highlights, unlike the low-con look of "The Witch." We may continue to stay rich in contrast for our next color film as well. Shall see. Harris Savides had such a profound influence on so many of us cinematographers. For me, the soft look and unending highlight scale stuck for a long time. Jarin
  32. 1 point
    This is the crux of the problem with the point you seem to be trying to make. If what you care about is something that conforms to "today's standards" (whatever that means), that's fine. Just remember that 20 years from now, nobody will care about the work you do when "standards" have changed. It's a good idea to take a long view here. When I was in art school (for film) in the early 90s, I had a conversation with a professor that really stuck with me. I was there because I wanted to be in Boston and I wanted to study film, but wasn't particularly interested in avant garde art films, so my mindset was somewhat rebellious from the get-go. Also, I was 20. I was making a ham-fisted argument about rapid cutting being the death of serious cinema or some similarly pretentious BS, and he basically shot me down and pointed to dozens of examples going back to the 20s that countered my argument. I went back and looked at those films and sure enough, he was right. (As an aside, I can't imagine how hard it is for film professors to deal with this with every year's crop of freshmen know-it-alls). The bottom line is: It doesn't matter if it meets "today's standards," unless all you care about is commercial success. All of the history of film leads up to what we have now - it's a constantly evolving language. You may not like the pacing, or the style of acting, you may not be able to relate to the cultural references or the language, you might find black and white or silent film to be "boring" but skipping them to develop your own "original" style is just pure hubris. I find Birth of a Nation to be morally repugnant, but it's still worth watching. Ignore that history at your peril.
  33. 1 point
    It’s true that cultural expression changes with geography and time. Just go to your local bar at noon or 12 hours later at night, very different forms of expression. But movies are not about culture, they are about “the human condition” (at least 99% of them) which haven’t changed since the birth of cinema. Peoples actions are basically driven by three things 1.Passion(procreation,hobbies,faith, self fulfillment/preservation…) 2.Power(money, status…) 3.Seemingly irrational acts (Zinedine Zidane world cup final head butt. Or writing over 1400 posts on a cinematography forum, when you don’t actually seem to love movies.) Any action in a film can be boiled down to 1 of the 3 reasons above, or any action in life for that matter. (That is of course if one believes that free will exits over determinism, but that’s a whole other discussion.) That’s why simple story structures like A wants B but C gets in the way, always works independent of location(I’m assuming you are not watching “foreign” films either) or time. For example: 1927 Silent film: 7th Heaven. Guy want’s girl but -- the first world war gets in the way. 2003 Animation: Finding Nemo. Father wants to save son but -- the big sea gets in the way. 2010 South Korea: The Yellow Sea. Guy want’s missing wife but – the mob gets in the way. Film is like music something deeply human and universal, and it resonates across borders and time. Sure we all have different tastes and preferences, but you can always learn something no matter where or when the film was made, or if it was good or bad. Like Stephen King says in his book on writing, if you want to be a writer, you only have to do two things, you have to READ and you have to WRITE. And if you want to be a writer/director the same goes for film making. I just can’t comprehend why you want to make movies if you don’t want to watch them.
  34. 1 point
    Being soundly educated in the classics has always been a road to success in the arts. Of course there's no guarantee because the other requirements are talent and lots of hard work, and basically, sticking with it and not giving up. There's another thing though: being obsessed with other's achievements, and being an expert on what has been produced by others, but not really getting out there and doing your own things. A famous classical musician once said something along the lines of "If you're at the top of the game you don't have time to sit down and listen to the other soloists." But people do. We need inspiration and technical and artistic knowledge. So seek a good balance. Get educated, stay educated, but get out there and do your own thing as quick as you can, and keep doing it. Don't watch too many films - make your own. But you have to know your art. Wisdom and hard work ..... Yes, you must watch Citizen Kane. It's a classic.
  35. 1 point
    I don't know. I just really like watching movies. And I love breaking down the craft as far as I'm capable. It's been my favorite thing to do since as far back as I can remember having a favorite thing to do. The first thing my parents let me do by myself was walk to the movie theater and see whatever was playing. I didn't even know what I was watching half the time, but if it was PG, I bought a ticket. I just turned forty a few days ago and all I asked my wife for my birthday is to let me BBQ and watch a good movie on my projector in the basement. That's a perfect birthday in my opinion. So... when someone tells me there was a movie made almost eighty years ago that was so good it's influenced new movies ever since... it's hard for me to understand not wanting to watch it.
  36. 1 point
    Also, it's just a plain old good movie. So if you like watching good movies, I would recommend it. And now with 2018 availability to many old movies that weren't available in the past and with the technology to watch these old movies on bigger screens again, now's a better time than any to catch up on the classics that came out in theaters before we were born. I watched "The Man Who Shot Liberty Valance" for the first time last night on a 10 foot screen in my basement. It was great. But all that aside, I'm sure Mr. Mullen has said this plenty of times in the past, but it's worth finding out who your favorite filmmaker's favorite filmmakers are and watching their movies to learn what your favorite filmmaker's influences were. I really like Martin Scorsese films and he talks about his influences all the time... I have "The Red Shoes" sitting in a netflix sleeve as we speak. I just listened to an interview with Quentin Tarantino where he talked about how a review of one of his favorite Jean-Luc Godard films inspired his entire point of view on writing. Who knows what will inspire you, so why not watch as much as you can?
  37. 1 point
    One of the things about this that I notice is that a lot of less-experienced people who are perhaps just starting out have very little idea of blocking and staging. This is part of the reason why a lot of very basic short films are terribly "cutty" with each shot doing exactly one thing, before, kerpow, we're off to the next one. This is a different problem to the frenetic editing of some action movies, which is done to make it feel pacy; those films are often shot in such a way that they could be presented in longer takes if the editors were a bit more considered, which is a topic for another day. But a lot of short films are essentially presented as a string of individual setups, where a longer take, with at least more willingness to operate the camera, perhaps even move the camera, and show a lot of action in one go, might work better. Older movies are a very good demonstration of this sort of thing, particularly musicals which made a point of showing a dance sequence in full. It might not be what we're doing now, but it demonstrates a lot of technique. The musical number "A Boy Like That" from West Side Story was once used as an example of this in a class taught by (if I remember correctly) Stephen H. Burum, ASC. It's far from a one-setup scene, but the use of blocking and staging, with cleverly set up light to keep people visible, in silhouette and in front light, is absolutely masterful. Shot in 65mm, on 5251, a 50-speed tungsten stock, by Daniel L. Fapp. People constantly claim this is three-strip technicolor. It isn't. https://www.youtube.com/watch?v=4oxfOncYiag
  38. 1 point
    There’s no law that a painter has to have seen a painting by Leonardo, Vermeer, Van Gogh... or any painting for that matter. But it has always seemed odd to me when someone can’t be bothered to learn the fundamentals of their chosen art form, which includes some BASIC history. But whatever works for them. But if I ran a film school, you’d be darn certain that every student would be shown “Citizen Kane”. And doubly so if I ran a cinematography department!
  39. 1 point
    If you happen to be talking about the later version Vario-Switar 16-100mm, Parts are available from Bolex to convert the bayonet mount to a C-mount.
  40. 1 point
    This opening shot... I can not spot any CGI (though I intuitively know there is some to at least replace the countryside/sky) but this opening shot is marvelous. Do you think it was a drone all the way through, or some sort of hidden cut switching to a crane with an op who can walk off? Would love to know if anyone actually knows or good speculation on it.
  41. 1 point
    The right way to approach this is to work backwards from the deliverables format. If it's DCP, then 24. If it's broadcast, or if you want to make a DVD, then 23.976. 23.976 exists because it's the only way to encapsulate a 24fps progressive image inside a 29.97 interlaced package (NTSC), which is done using 3:2 pulldown. This pulldown can be undone if the cadence isn't broken, and a progressive image displayed even if it exists inside an interlaced stream. This is how it works on DVD, and on 1080i (in most cases). We usually recommend 23.976 because it's easier to get to more formats from there (NTSC, Progressive DVD, Progressive Blu-ray, 25fps). Changing to 24fps isn't particularly hard, but most of the common delivery formats work natively with 23.976, and only a couple (DCP, Blu-ray) support hard 24fps. And Blu-ray also supports 23.976
  42. 1 point
    There's a new edition of "Film Lighting" that just came out.
  43. 1 point
    Hi Jean-Louis, the Optex 2x extender for Bayonet mount has an optic that hits the rear of the 12-240 so it's no good. I tested a Zeiss Mutar 2X (Bayo mount for 10-100) and it fits the 12-240, with no vignetting through the range. You lose I think 2 stops, and wide open doesn't look so great, so realistically you're looking at a min of about T11! But it works.
  44. 1 point
  45. -1 points
    You can convert K to megapixel very easily. Just multiply the two H and W resolutions and you get megapixel. The industry uses "lines" because that's how we determine resolution with film, you can't do it any other way. Megapixel is a factor of the digital age when you can count the active pixels on an imager grid. Since film's silver makeup is random, it's impossible to get a megapixel count from it. All we can do is project a still image onto a screen and count how many lines we see from the photographed chart. What I do know is that projection lenses play a HUGE role in this process and digital is no different. So a 4k imager of a digital projector is NOT delivering 4k to the screen. However, since film is a projected format, it seems irrelevant to discuss actual resolution, since nobody will ever see it. The only thing that matters is what the film looks like when projected. What I'd be interested in seeing is a test with modern projectors to see what resolution is visible by the audience. 35mm release prints (4th gen) are generally less then 2k in of themselves. When projected on screen, perceivable resolution is somewhere in the 700 - 800 line range. Is 2k digital any better? Well, I would assume so because even the worst digital appears to be crisper. Plus, with 35mm projection, there are many issues that cause the film to be not as crisp, from gate weave, out of calibration shutter and old glass. I recently saw Batman v Superman, a horrible movie that was on the borderline of unwatchable. Yet, it was a absolutely gorgeous 5/70 print which was the reason for going. I sat mid theater, the screen was huge and it looked better then any digital projection I've ever seen. No registration issues, no flicker, no dirt, no noticeable splices, no aliasing which is typical of lower resolution projection. Now obviously I saw it at the Arclight and yea, they have a DP70 up there, which is one of the finest film projectors ever made. Still, it was worth the experience to see such a wonderful projection of a horrible movie. It does show that 5/70 is still the best standard projection format around and 15/70 blows the doors off 5/70, it looks very digital it's so clean.
  46. -1 points
    I do - whats your location and I'll PM you a shipping quote. Did you get it serviced or replace the O-Ring yet?
  47. -1 points
    I give up too. let the sparky run the camera and the director can run the electric. send the grips to get crafty and the PA can run the arial lift.
  48. -1 points
    Yea, there is a price difference, but the Amira is an expensive camera to begin with. The mini has this clout around it that the Amira doesn't sadly. I know people with Amira's who struggle to rent them on narrative shows. Great camera for everything else, but sadly the narrative people don't like it. I mean it's Sony... the only people who use Sony are Documentary peeps and TV shows. Outside of the Venice, which is getting a bit of traction, they don't make anything else that's workable as a rental package. The Arri's are cheaper used and have a better marketing ability.
  49. -1 points
    But the OP doesn't mention anything about renting out his gear.. his market is events, documentaries ,music video and short films.. for $10,000 the fx9 will give dual ISO,Venice color,6K down sampling to 4K/HD, FF or s35.. a brand new sensor that is large enough for anamorphic, if implemented in future FW.. amazing AF if you want it.. and E mount that can be adapted to pretty much any lens in the universe .. this or a 2nd hand Amira that will cost the same or more.. ?
  50. -1 points
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