Tim Tyler

Dave, Can you offer any insurance advice or suggestions based on what you've read in this conversation? For example, if both the equipment owner and the renter (production company) have insurance, does it benefit the owner to have the equipment covered by the renter's insurance during the rental term?

Checkout the new 8K Panavision DXL with a 35 megapixel 8K RED sensor and 15 stops of dynamic range. Sensor Type: 16-bit, 35.5 Megapixel CMOS Resolution: 8192 x 4320 Sensor Size: Large Format: 40.96mm x 21.60mm (Diagonal: 46.31mm) Dynamic Range: 15 stops Max Frame Rate: 60 fps at 8K Full Frame (8192 x 4320), 75 fps at 8K 2.4:1 (8192 x 3456) Recording Codec: 8K RAW with simultaneous 4K proxy (ProRes or DNx) http://dxl.panavision.com/ I suppose this should go in the Panavision sub-forum, but... (Maybe I'll move it later...) Congrats to RED!

It's not okay to post commercially on Cinematography.com unless you're a sponsoring advertiser, David.

Welcome to Cinematography.com, David. Do you want to advertise your front boxes here?

This informative PDF from Panavision describes how to ship lithium ion batteries or travel with them on passenger aircraft. As of April 1, 2016, lithium ion batteries must now be shipped as Class 9 Dangerous Goods, and a restriction has been implemented on the bulk (three or more) shipment of UN3480 lithium ion batteries as cargo, including checked luggage, on passenger aircraft From Panavision http://www.panavision.com/sites/default/files/docs/documentLibrary/2016-04_Panavision_Website_Batteries_revised.pdf Also good info at the Pipeline and Hazardous Materials Safety Administration http://phmsa.dot.gov/safetravel/batteries

Looks like Siite and Royce are the same person.

I've hidden that last, insulting post by Royce. I'm not going to close or delete this thread, but I strongly recommend everyone stop participating in it.

You are, of course, correct, Phil - but I copied that from Lytro's web site.

Lytro Cinema captures all the rays of light within a scene, providing a rich amount of Light Field data. Every pixel has color properties, directional properties, and its exact placement in space. Lytro Cinema is defying the traditional physics of on set capture by virtualizing creative camera decisions. Infinite creative choices can be generated in post-production including unprecedented control over focus, perspective, aperture and shutter angle – recreating impossible shots. 755 RAW Megapixels Up to 300 fps Up to 16 stops of Dynamic Range Integrated High Res Active Scanning Systems http://vimeo.com/161949709 https://www.lytro.com/cinema

Tyler says that S-log is flatter than film negative, not that S-Log = RAW.

I'm removing the accusatory, name-calling posts. Please keep this conversation civil and polite.

Is Jimmy Jib your real name?

I actually meant to quote John Sherman, Richard.

There's a line in this forum's Guidelines: Avoid sarcasm. It is nearly impossible to recognize sarcasm in print, and often it is interpreted as rudeness. Please change the topic or discuss it clearly without sarcasm.

The specs are out: http://www.kodak.com/ek/US/en/consumer/Product/Product_Specs/?contentId=4294993082&TaxId=4294969683 Technical Specifications FILM GAUGE SUPER 8 ( EXTENDED MAX-8 GATE ) FILM LOAD KODAK CARTRIDGES WITH 50 FT (15 M) SPEED VARIABLE SPEEDS (9, 12, 18, 24, 25 FPS) ALL WITH CRYSTAL SYNC LENS MOUNT C-MOUNT FOCAL LENGTH FIXED / 6 MM, 1:1.2 – RICOH LENS (OPTIONAL ZOOM 8-48 MM LENS ) FOCUS / APERTURE MANUAL FOCUS & IRIS VIEWFINDER 3.5" DISPLAY THAT HAS A STANDARD DEFINITION VIDEO INPUT AND SUPPORTS SWIVEL +/- 45 DEGREES EXPOSURE EXPOSURE CONTROL BUILT-IN LIGHT METER FOR SUPPORTED SPEEDS OF ALL KODAK FILM TYPES MANUAL SPEED / MANUAL IRIS SETTING POWER SUPPLY BATTERY & CHARGER INTEGRATED BATTERY AND CHARGER VIA STANDARD USB WALL ADAPTER CONTROL PANEL VIA VIEWFINDER 3,5" TFT LCD SETTINGS VIA JOG WHEEL AS USER INTERFACE

From 2014:

Glad you're back, Michael. Good luck in L.A.!

Designed specifically for Canon’s latest Cinema EOS cameras, ARRI PCA introduces a new cine plate for film set environments, an adjustable broadcast plate for documentary-style filming and a handy top-mounted support plate. ARRI’s range of Pro Camera Accessories (PCA) makes the benefits of ARRI-designed accessories available to cameras from other manufacturers. It comprises rugged, versatile and user-friendly tools that endow almost any third-party camera with film-style functionality, aligning it to universal industry working practices and giving it the durability to be used efficiently and effectively on professional sets everywhere. Complementing the multi-component ARRI PCA shooting kits already available for Canon’s Cinema EOS cameras, three new accessories are being introduced that will allow the C300, C300 Mk II and C500 to be used in an even wider variety of professional shooting situations. First deliveries of these new items will commence in August 2015. Broadcast Plate for Canon C300 / C300 Mk II / C500 Broadcast environments demand quick changes from tripod to shoulder and perfect balance when handheld. The Broadcast Plate for Canon C300 / C300 Mk II / C500 is compatible with VCT-style plates such as the ARRI QRP-1; it also offers a wide range of shoulder adjustments without affecting the placement of accessories fitted to the integrated 15 mm LWS rod system, making last-minute balance adjustments straightforward and comfortable. Cine Plate for Canon C300 / C300 Mk II / C500 Keeping the same lightweight simplicity as the original plate for C300, the Cine Plate for Canon C300 / C300 Mk II / C500 offers front and rear 15 mm LWS integrated rod consoles, a pair of sturdy ARRI rosettes and direct compatibility with studio bridge plates such as the ARRI BP-8 and BP-9. Top Plate for Canon C300 Mk II A low-mode plate fitted with an integrated 15 mm LWS rod console that provides room for handle and accessories. http://www.arri.com/about_arri/press/english/english_single/new-pro-camera-accessories-for-canon-c300-c300-mk-ii-c500/7581/

Right. I saw Se7en on opening night in a packed theater in Hollywood. Had no idea what I was getting into.

Of course. Thought it looked familiar, darker than I recall though. Amazing looking film, especially given the lack of digital post. Wasn't it Fight Club and Saving Private Ryan that started the bleach bypass trend?

ARRI continued its annual presence at the Cannes Film Festival this year, strengthening its partnership with Director's Fortnight and hosting social events that brought together cinematographers, directors and producers from all over the world. At the beachside ARRI hospitality space, five cinematographers spoke on camera about the films they had in competition and about their experiences working with ALEXA on those productions. Overall, more than half of the festival's films that were shot digitally used ALEXA as their main camera. http://www.arri.com/news/news/cannes-2015-video-interviews-with-dps/ Carolina Costa Joshua Richards Roger Deakins, ASC, BSC, CBE Yu Lik-wai Arnaud Potier

What's the shot from?

I can add a "Mexico" regional forum if there's a need. (Please fix your profile photo.)

The image looks like it been graded heavily so I can't guess at color temp, It's possible the entire shot was lit with a couple of 60W bulbs plus the practical light. Might be a small Kino source in the foreground but I'd guess a diffused fresnel or even just a soft bare bulb with some diffusion. Why do you ask?