Tim Tyler

AFAIK, if it came with the Magic Bullet CDROM, you bought it from a authorized reseller.

I recall Phil mentioned in a post a while back that the unconventional lens design on the DVX is such that the focus may be adjusted internally automatically while the focal length is being changed. I wish a Panasonic tech could comment on this and give us some real info.

Yup. I added a couple of levels of paid memberships a few weeks ago to help pay the bills. http://www.cinematography.com/forum2004/in...tion&CODE=index Also, David's comment "I'm considering no longer responding to posts that are unsigned at the bottom..." is entirely justified. I think everyone here should add a clear signature to their profile.

Interesting. One of the 'issues' I have with the DVX is a focus problem. With a typical zoom lens the operator can zoom into an object, find sharp focus, and zoom out expecting the object to remain in focus. On several DVX100a's I've used I have found that the depth of field 'moves' further and further behind the object the more you zoom out from 100%. It's a PITA.

Fuji Photo Film U.S.A., Inc., a pioneer in digital imaging products and services is pleased to announce the introduction of a new motion picture color negative film, ETERNA500, for dramatically improved image quality. The new product was made possible through the incorporation of new technologies that have previously been unavailable in motion picture color negative films. "In developing ETERNA500 we analyzed market trends and identified the need for high-speed films offering improved grain, consistent gray balance over a broad range from underexposure to overexposure, stable reproduction of skin tones and a film offering versatility for both traditional and digital post applications," said Mark Murphy, Vice President of Fujifilm's Motion Picture Products Division. According to Murphy the new film has dramatically finer grain and color reproducibility over existing E.I. 500 films. While it is an ultra-high-speed E.I.500 film, ETERNA500 provides granularity similar to that of E.I.250 films. Features and Benefits of ETERNA500 The features of Fujifilm's ETERNA500 offer the following benefits for cinematographers: Superb Image Quality - Superb image quality is ensured, even in dark areas, because the grain of ETERNA500 was advanced to a level similar to that of E.I.250 films. Stable Gray Balance - ETERNA500 ensures a stable gray balance due to the excellent linearity over the entire range from underexposure to overexposure. Excellent Skin Tone Reproduction - ETERNA500 consistently reproduces excellent skin tones by embodying a balanced interlayer effect in each exposure range. Excellent Sharpness - ETERNA500 offers excellent sharpness, offering favorable B/G/R sharpness balance during digital process, see "Super-Efficient DIR-Coupler Technology" below. Technologies Behind ETERNA500 Three technological advances contributed to the product's development. "Super Nano-structured Σ Grain Technology," achieves high sensitivity by controlling the microstructure of the silver-halide grain down to nanoscale. "Super-Efficient DIR-Coupler Technology," which ensures dramatically improved sharpness and color reproducibility by producing a greater interlayer effect than what can be achieved using conventional DIR couplers. "Super-Efficient Coupler Technology," which enhances sharpness by improving the color-formation efficiency of couplers, thereby reducing the thickness of the photosensitive layer. The introduction of Fujifilm's ETERNA500 represents the latest application of the imaging company's precision thin-layer film coating manufacturing technology. Other products engineered using advances in this process include the films used in LCDs and flat panel displays, advanced photo papers that deliver brilliant color photos with all inkjet printers; DVD media with innovative, proprietary organic dye technology for high transfer speed and capacity; and nano-technology-based enterprise data storage tapes. Today Fujifilm invests more that 1.6 billion dollars in research and development annually - approximately 4.3 million dollars a day. The company was recently ranked among the top 100 largest global manufacturers by Industry Week and was ranked in the top ten for U.S. patents granted during the last decade. The product is expected to be available in the U.S. in early 2005. About Fujifilm Fuji Photo Film U.S.A., Inc. is a subsidiary of Fuji Photo Film Co., Ltd. and delivers technology solutions to meet the imaging and information needs of retailers, consumers, professionals and business customers. As a global leader in digital imaging, Fujifilm pioneered the development of digital medical systems, and today is the leader in digital minilab systems. The company was ranked in the top ten for U.S. patents granted during the last decade, employs 73,000 people worldwide and in the year ending March 31, 2004, had global revenues of more than $24 billion. In the U.S., Fujifilm is a leader in delivering high quality, easy-to-use imaging and information solutions in the following categories: Digital Imaging Systems, Recording/Storage Media, Film and Imaging Systems, Motion Picture Film, Graphic Arts and Printing Systems and Medical Imaging and Diagnostics Systems. Fujifilm is committed to being an environmentally friendly, humane enterprise and an exemplary corporate citizen. For more information on Fujifilm products, consumers can call 800-800-FUJI or access the Fujifilm USA Web site at www.fujifilm.com.

On the 100 and 100a, two additional menus can be accessed by depressing the Audio Dub, Rewind, Menu button (in that order) simultaneously. In the "Adjust Menu" there's are some options. Anybody know what they are? ATF Gain (seems unchangable) Linearity (seems unchangable) Y Level (default A5) C Level (default 71) Defect Comp - 0 EEProm Version 1.02 There's also a 'door' in the battery slot under the viewfinder that can be opened by removing a single screw. Inside is a "EVR Connector". I realize that without service manuals this stuff is probably useless, but I'm curious. :unsure:

Sony is expanding its line of professional video options with the introduction of a complete high-definition video production system. The new HVR-Z1U camcorder and HVR-M10U VTR form the core of an entry-level HD acquisition and playback solution, designed to provide video professionals with a flexible and affordable migration from standard definition infrastructures to the rapidly expanding world of HD. "High definition capabilities are becoming a necessity rather than an option at every level of the production chain," said Bob Ott, vice president of professional audio and video products in Sony Electronics' Broadcast and Production Systems Division. "But not everyone is ready to adapt at the same pace, for any number of reasons. The key to our HDV system is versatility and backwards compatibility with existing DVCAM? standard definition equipment. Users can upgrade from SD to HD all at once, or they can do it when it makes the most sense for their operations and budgets." The HVR-Z1U HDV 1080 camcorder can record HDV, DVCAM and DV images at 60i, 50i, 30, 25 or 24 frames per second, in either SD or HD. This switchable 60/50 capability allows videographers to use just one camcorder to meet an array of client needs. The new camcorder uses three Super HAD?, 1/3-inch, 16:9 native CCDs. Combined with a 12X Optical Zoom Carl Zeiss Vario-Sonnar® T* Lens and Sony's new 14 bit A/D with Digital Extended Processor (DXP), the HVR-Z1U's advanced design allows more light to reach each pixel in the imager, improving the signal-to-noise ratio and sensitivity. In addition to high-quality image capabilities, the HVR-Z1U includes a complete inventory of features and capabilities that make the camcorder a truly professional production tool. Key features include: ? CineFrame? and CinemaTone? functions for "cinema like" recordings (25F/30F/24F) ? Hyper Gain ? Manual Iris Control w/24 steps ? SMPTE timecode with user presets ? Color Correction ? Built-in HD to SD down conversion playback ? Balanced Audio XLR input connectors (x2) w/Selectable Phantom Power ? Simultaneous use of viewfinder and LCD display (selectable) The HVR-M10U model is a lightweight, compact HDV 1080 VTR capable of record and play back of HDV 1080, DVCAM, and DV SP, as well as playback of video recorded in 720/30P. In addition to allowing backward compatibility to the standard definition DV world, the 1080 recorded image can also be down-converted to SD output mode directly from the VTR or camcorder in the digital or analog domain. Professional Media Optimized for HDV Applications Designed in conjunction with the new camcorder and VTR is Sony's recommended professional media for HDV applications, DigitalMaster? videotape. These 63-minute cassettes use Sony's AME II Technology and its unique dual-active magnetic layers. By improving on an already successful product, the new AME II manufacturing process employs Hyper Evaticle IV magnetic grains, improved lubricants, and a refined Diamond-Like Carbon (DLC) layer. DigitalMaster exhibits greater packing density of magnetic grains, higher retentivity, higher output and lower noise. The result is a more robust tape with fewer dropouts and errors. A critical aspect of any professional video production is compatibility with an array of non-linear editing solutions. Sony's HDV production system can achieve interoperability with editing software from Adobe, Apple, Avid, Canopus, Pinnacle, Ulead, and Sobey, as well as Sony's own Vegas® 5 software, which can fully handle 1080 HDV signals. "For Sony, a professional line of HDV solutions is much more than a new product introduction," said Ott. "It's about introducing a completely new way of recording, editing, and displaying the highest-quality images possible. Video professionals have a unique set of needs, so it makes sense they should have a unique set of tools at their disposal. Sony offers all the keys to an HDV production workflow with acquisition, a VTR, NLE software and the finest displays in our BVM and LUMA? Series of LCD monitors." The HVR-Z1U and the HVR-M10U are planned to be available in February, for about $4,900 and $3,700, respectively. - - - - - - - - - - - - - - - - - - - - The following are key technical features and specifications of the Sony HVR-Z1U professional HDV camcorder. Professional advantages of the HVR-Z1U over the Sony HDV consumer camcorder are noted where relevant. 60/50 Switchable ? The HVR-Z1 is unique in its ability to record HDV and DVCAM? images at 60i, 50i, 30, 25 or 24 frames per second?in either SD or HD. Switchable 60/50 capability is an advantage for anyone who needs to satisfy clients in both 60i/50i and NTSC/PAL HD and SD applications. Color Correction ? The Color Correction function allows users to adjust the color of a target object without affecting the color of other objects. This feature can be used to create special effects, for example, showing the color of a red apple only on B&W picture. Up to two colors can be selected as target colors and each can be controlled in terms of color phase, color phase width and color gain as well as skin color. DVCAM Support ? The DVCAM and DV formats are supported by the HVR Series to offer full backward compatibility with the standard definition DV world. Users can also select 16:9 and 4:3 modes both for DVCAM and DV operation. Versatile Timecode/Userbit Operation ? Timecode/Userbit Preset function allows any time to be selected as a starting timecode. Also, "DF" or "NDF," "Rec Run" or "Free Run" and "Regenerate" or "Preset" can be selected for the timecode operation. Multiple Assign Button Functions ? The HVR-Z1U has six assign buttons compared to three buttons on the HDR-FX1. Functions such as "AE Override," "White Balance Shift for Outdoor," "Hyper Gain," and "All Scan Mode" are also featured on the assignable menu. "Back Light," "Spot Light" and "Rec Review" are also on the assignable menu. Viewfinder B/W and Color Selectable ? The user can operate the viewfinder in color or in black-and-white. Simultaneous Operation of LCD panel and Viewfinder ? The camcorder's LCD panel and viewfinder can be operated simultaneously. "LCD panel" or "VF turn on" can be selected through the "VF Power" menu. If "Auto" is selected, the viewfinder will turn on only when the LCD panel is closed, and if "On" is selected, both LCD panel and Viewfinder will be operating. All Scan Mode ? "All Scan Mode" is similar to the "Under Scan Mode" of other camcorders. This feature is useful when checking image quality for Web applications. However, unlike the "Under Scan Mode" the HV blanking area is not displayed. Auto Exposure Override ? While in the Auto Iris mode, AE can be shifted by using Iris dial. This allows the user to adjust Iris easily (or Gain if Gain is set to Auto). Black Stretch ? Black Stretch function raises only the black portion of an image to broaden dynamic range. 4:3 Output ? The HVR-Z1U offers several features useful for videographers who also need to output 4:3 images. The converted SD output (i.LINK® Output, S-Video Output or Composite Output) can be connected to compatible SD devices. If the monitor is 4:3, "Letter Box" can be selected and if the monitor is 16:9, "Squeeze" can be selected. Edge Crop at 4:3 ? Unique to the HVR-Z1U is the "Edge Crop" mode. This mode is ideal for 16:9 shooting and unlike "Letter Box" or "Squeeze," "Edge Crop" can provide a normal picture that will fill a 4:3 screen. For supporting this function, a viewfinder/LCD panel 4:3 safety marker is added by selection in the Marker Select Menu. Setup Level Select ? Setup level can be selected between 0% and 7.5% when the camcorder is operated in SD mode. This function is available only in NTSC mode. AF Assist ? Auto Focus Assist function allows the user to control the focus while in auto focus mode. This function is very useful for "touching up" the focus if needed. External Record Control ? External devices such as VTRs or HDD recorders can be controlled via i.LINK. "Rec Control Mode" menu and "Stand-by Command" menu are in the "External Rec Control" menu. "Rec Control Mode" menu can control "Synchronous" or "Relay." "Synchronous" starts the recording process in both the external device and the camcorder. And "Relay" starts the external device when the camcorder is stopped. "Stand-by Command" menu can be selected as "Rec Pause" or "Stop." "Rec Pause" can trigger to the external device when Rec Pause button is pushed. White Balance Outdoor Level Shift ? When the white balance is selected in "Outdoor" mode, it can be shifted (-7~0-+7) either through the menu or Assign Button. This feature allows the user to adjust the white balance with fixed color temperature. Hyper Gain ? Hyper gain (more than 18 dB) enables image acquisition in extreme low-light conditions, even less than 3 lux. All Display Off ? Display mode can be selected if the "Display" function is assigned. In the "All Display Off" mode, only mode status on the LCD panel or viewfinder is shown. Zoom Display Selectable ? Zoom display type can be selected by "Bar" or "Number." When "Number" is selected, it will be displayed from "0" to "99" following the zoom position. This is useful for remembering the zoom position with an actual number. Selectable Peaking Level and Color ? Peaking color and level can be selected. Color can be selected from "White," "Red" and "Yellow," and "Level" can be selected from "High," "Middle" and "Low." On the HDR-FX1, it is fixed as White and Middle. Expanded Focus Off Mode ? Expand focus can be changed to normal with two selections: "Auto Off" and "Manual Off." In addition to the "Auto Off" mode provided on the HDV consumer camcorder, "Manual Off" mode is added for the HVR-Z1U. When "Manual Off" is selected, the expanded focus will change to normal when the Expand Focus button is pushed again. Safety Zone and 4:3 Marker ? "Safety Zone" and "4:3 Marker" are added in the Marker menu, in addition to the "Center Marker" on the HDV consumer camcorder. "Safety zone" displays the inner area of the screen and "4:3 Marker" displays the 4:3 area in order to define picture width when the shot is used both for 16:9 and 4:3 display. All markers can be displayed simultaneously. Date and Time Stamp ? Date and Time can be recorded on the tape, useful for applications such as surveillance or legal documentation where time and date notation need to be permanently shown on the image. XLR Connectors and Mic Power Supply ? Two XLR connectors are provided and a built-in stereo microphone is standard. Mic Phantom power is supplied via XLR connectors. Independent Audio Record Level Set ? Each channel of audio record level can be controlled independently. Two audio record level volume controls are at the back of the camcorder, compared with one volume control on the consumer camcorder. Audio Monitoring ? Various modes are available for audio monitoring, such as Ch1 and Ch2, Ch1 only, Ch2 only and Ch1+Ch2 (Mixed). Microphone Setting ? Wind noise reduction can be selected independently for the built-in stereo microphones also on either XLR input. The sensitivity of the internal stereo microphone can be selected as "Normal" and "High." XLRs can be selected as independent channels (XLR1 to Ch1 and XLR2 to Ch2) or monaural (XLR1 to Ch1+Ch2). XLR also has a setting of "AGC Link" On and Off, and it can select linked AGC for XLR1 and XLR2. Each XLR input allows the selection of input level as Mic or Line, as well as Trim level in order to adjust input to the audio circuit and prevent overload (-18, -12, -6, 0, +6, +12dB can be selected). Audio Mode ? 32 KHz and 48 KHz can be selected when the Rec Mode is set to either DVCAM or DV SP. When HDV is selected, audio is always 48 KHz and it is compressed with MPEG1 Layer2. Audio Lock ? Audio Lock mode or Unlock mode can be selected when the Rec mode is set to DV SP. When HDV is selected, Audio is unlocked. When DVCAM is selected, audio is locked. Audio Limiter ? Audio Limiter On and Off can be selected. With the HDV consumer camcorder, the audio limiter is always on. Mic Noise Reduction ? Mic noise reduction can be selected On or Off. When it is On, a reversed wave of mechanical noise is generated and cancels the mechanical noise. Wind Noise Reduction ? Wind Noise Reduction is available for internal microphones, and also independently for each XLR input. Mic Select ? The built-in standard stereo microphone allows users to select "Internal Mic" or External Mic with XLR. Internal Mic Sensitivity ? Internal stereo mic sensitivity can be selected as "Normal" or "High." "Normal" is commonly used for professional applications. Only the "High" level is supported for the HDV consumer camcorder. CineFrame Mode ? The HVR-Z1U offers several options for "cine-like" shooting in three modes: 30 frames, 25 frames and 26 frames. Additional CinemaTone? and Gamma Settings ? Two types of CinemaTone? Gamma can be selected both for 50i and 60i in HDV, DVCAM and DV. Shot Transition? Start Timer ? This sets the delay time for the start of Shot Transition?. Shot Transition? can be started simply by pushing the start button. The start timer has a selectable 5-, 10- or 20-second delay to prevent camcorder movement during shots. Skin Tone Detail Level control ? Skin tone level can be selected as "High," "Middle" and "Low," in addition to the skin tone Type. Skin tone level can change the "Detail" level of skin tone. 480p Output for SD Component Output ? "480i," "480p/480i" or "1080i/480i" can be selected as the analog component output. "480p/480i" is also available with the HVR series. Smooth Handle Zoom ? Smooth Start and Smooth Stop are provided on the handle zoom, to enable manual zooming for professionals. Audio Output Select ? Audio output can be selected as "1Vrms" or "2Vrms." "2Vrms" is usually used as the professional output level. Select Audio Mode at i.LINK Down Convert ? "Lock mode" or "Unlock mode" can be selected as the output of the i.LINK when it is down-converted to a DV stream. Selectable SMPTE Color Bars ? Two types of color bars are provided. Color bar menu can be assigned on the assign button and selected color bar can be displayed when the assign button is pushed. Hours Meter ? Hours Meter for Operation, Drum Run, Tape Run and Threading time are provided.

Olympus Optical Co., Ltd. (President: Tsuyoshi Kikukawa) is pleased to announce the development of a prototype high-fidelity digital movie camera system that delivers image quality four times higher than current high-definition television (HDTV) systems. The system uses a newly developed high-speed image processing engine and HDD recorder etc. to achieve realtime recording of approx. 8-megapixel*1 images at a speed of 30 frames-per-second. The new Olympus system is the first commercially viable digital imaging system in the world*2 to offer image quality comparable to conventional 35mm movie camera systems. Potential applications for the new system include: Fully digitized shooting, recording, image processing and distribution systems for next-generation digital cinema. Digital archiving and display of priceless artworks and museum-quality artifacts. Live, medical and educational applications which require realtime transmission of high-definition video. With the development of this new system and the newly developed Vision Plex High-Fidelity Display technology*3, Olympus is now able to offer complete input-to-output video solutions that offer exceptionally vivid and realistic high-fidelity imaging. The company will continue to explore potential applications for this new technology, and is currently working on the development of a fully configured system for market introduction. *1 Using four 2-megapixel CCDs. *2 Among 2,000-line-class imaging systems as of May 22, 2002. *3 Announced on May 22, 2002. Development Background With continued advances in digital imaging, and widespread penetration of optical fiber and other broadband network technologies, the dissemination of high-fidelity still and video image content is expected to play an important role in telecommunications, broadcasting, education, medicine, and publishing in the years ahead. In response to this trend, Olympus has already developed and introduced display systems that use multiple projectors and advanced image calibration technologies to produce seamless 4 - 6.5 million pixel large-screen displays that offer higher image fidelity than HDTV. For input, however, it has been necessary to digitize images obtained from conventional film-based movie cameras, and this has increased the cost and time required to prepare content material, thereby limiting the range of applications in which such display systems can be used. And because the original content is film-based, image quality is degraded by the graininess inherent to film-based imaging. It was to overcome these problems, realize the full potential of output device specifications, and offer an industry-leading input-to-output solution that Olympus set out to develop a new high-fidelity digital movie camera system. Newly Developed Technologies HIGH-FIDELITY IMAGING MODULE High-fidelity imaging is achieved by coupling four 2-megapixel CCDs equipped with a progressive drive mechanism* to a 4-plane imaging system that produces primary-color Bayer array** horizontal and vertical resolution of 3,840 pixels and 2,064 pixels respectively (approx. 8 million total pixels). As a result, horizontal and vertical resolution is equivalent to 1,600 TV lines. * Developed in cooperation with NHK television ** A type of primary-color filter commonly used in digital camera's image pickup element HIGH-SPEED IMAGE-PROCESSING ENGINE A newly developed high-speed image-processing engine is used to process output from the primary-color Bayer array high-fidelity imaging module. Based on technology originally developed for high-end Olympus digital cameras, the new high-speed image-processing engine is capable of producing 8-megapixel realtime motion video images with a progressive frame rate of 30fps. HDD RECORDER A high-capacity hard disk drive (HDD) recorder is used to store the massive amounts of data generated during high-fidelity image capture. After digital signal processing, the image signal undergoes Motion-JPEG compression before being recorded onto the hard disk array. A maximum of approx. 60 minutes of continuously recorded digital streaming data whose quality is not degraded during storage or playback can be recorded. More info at http://www.olympus.co.jp/en/news/2002a/nr0....cfm?ote=0&nr=1

LOS ANGELES, (November 9, 2004) - Kodak added another option to the palette of color negative films available to cinematographers. KODAK VISION2 250D 5205/7205 color negative film is optimized for an exposure index of 250 in natural or artificial 5500 degrees Kelvin daylight, and also in mixed color temperature situations. "This latest VISION2 film is designed to provide extraordinary creative latitude for cinematographers who are working in daylight conditions," says Robert Mayson, general manager and vice president of image capture for the Kodak Entertainment Imaging division. "It leverages a quantum leap forward in emulsion science and technology to provide new creative flexibility." The new emulsion is available in 35 mm, 16 mm and 65 mm. Cinematographers who have tested the new motion picture negative have reported that it renders true flesh tones with accurate color reproduction, a broader range of exposure latitude, and enhanced capacity for recording nuanced details in shadows and highlights. This is the fifth member of the KODAK VISION2 film platform, which was originally introduced in November of 2002. Like all VISION2 emulsions, the new daylight film maintains superior image structure, ultra-fine grain, and a tonal scale designed to enhance efficiency and accuracy during both optical and digital postproduction. "Cinematographers who shot early tests report that the new negative sees deeper into both highlight and shadow areas, and accurately records more nuanced details," Mayson says. "They also like the fidelity of colors and skin tones, and the more subtle grain structure rendered with this new emulsion." Allen Daviau, ASC (Van Helsing, Fearless, Bugsy) was among the cinematographers who tested the new film. "This new stock includes several innovations that make it a more natural recorder of daylight," says Daviau. "The contrast is a touch softer, and it records a quieter rendition of reds. It is a distinct improvement that offers new opportunities for telling stories. We're always trying to do things we haven't done before. Each new advance in film technology allows us to be more daring." Roger Deakins, ASC, BSC (The Village, House of Sand and Fog, A Beautiful Mind) adds, "I like this new stock, and plan to use some of it on my next project. I found it to be a true 250-speed film with very fine grain. It also has less contrast than I have experienced with previous daylight films, and because it captures more information in the shadows and highlights I can see that it will be helpful on digital intermediate projects." The new emulsion also intercuts seamlessly with KODAK VISION2 500T 5218/7218, KODAK VISION2 100T 5212/7212 and KODAK VISION2 200T 5217/7217. "This new family of films was designed in response to suggestions by cinematographers who want more flexibility and creative latitude," says Mayson. "They also want the ability to retain the subtlest details recorded on the negative during both optical and digital postproduction with the goal of maintaining those characteristics of the images through to cinema and television screens." He emphasizes that Kodak is still in the relatively early stages of leveraging advances made in emulsion technology. "Cinematography is an interpretive, global art form," Mayson adds. "It's not simply a means of recording visual information." Kodak's Entertainment Imaging division is the world-class leader in providing film, digital and hybrid motion imaging products, services, and technology for the television, feature film, commercial, music video, and documentary industries. For more information, visit www.kodak.com/go/motion.

When the white balance is adjusted with the electronic button on the DVX, there is not an audible cue that an internal filter has been switched. The DVX?s ND?s on the other hand can be heard and seen when they?re switched in and out. I wonder if Jan Crittenden has any insight here?

LOS ANGELES, (November 2, 2004) - LaserPacific has added Sheri Eisenberg to its roster of resident colorists. Eisenberg is a second-generation filmmaker who began her career as an assistant editor in 1991. She has been working as a colorist since the early 1990s, and has compiled an impressive list of credits, including remastering many contemporary and classic films for release in HD, DVD and other TV formats. "Sheri Eisenberg is a natural fit for our vision for the future," says Leon Silverman, executive vice president of LaserPacific, director of Strategic Business Development, Entertainment Imaging Services, and vice president, Entertainment Imaging division, Eastman Kodak Company. "Digital intermediate (DI) technology is evolving as a powerful new tool. She has the right combination of passion for the art form, natural talent, experience and a collaborative spirit that it takes to succeed in this new role." Eisenberg got her first industry job during the early 1990s, timing dailies on the night shift. She subsequently mastered many memorable films for video and DVD release, including Breakfast at Tiffany's, Courage Under Fire, Ghost, Harlem Nights, Jingle All the Way, Shogun (TV mini-series), Sabrina, The Talented Mr. Ripley, Medium Cool, Road Trip, The Ten Commandments, Volcano and Zoolander. "It was my responsibility to get inside the filmmakers' minds and faithfully translate their visions to another display medium," she says. "I've had opportunities to work with many great filmmakers who supervised mastering sessions." Those filmmakers include Ben Stiller, Todd Phillips, Anthony Mingella, Walter Murch and cinematographers Vilmos Zsigmond, ASC, Theo Van de Sande, ASC, Woody Omens, ASC, Haskell Wexler, ASC, Roger Deakins, ASC, BSC and Victor Kemper, ASC. Eisenberg was born and raised in Los Angeles, where her father, Jerry Eisenberg, was an online editor at CFI film labs. She recalls spending many days during her youth visiting her father at work, watching, listening and learning. Eisenberg majored in film and television at California State University, Northridge. After graduating in 1989, she briefly worked as a freelance assistant editor and also spent countless hours in a telecine suite in an informal apprenticeship with a friend who was a colorist. Eisenberg recently completed her first project at LaserPacific. She collaborated with cinematographer James Chressanthis, ASC, who put final touches on 3:The Dale Earnhardt Story while timing it for continuity. The bio-pic is slated to air in high-definition (HD) format on the ESPN cable network on December 11. Chressanthis noted, "Sheri is a good listener with a great eye. We timed the film in a theater-like environment. We saw images projected on a big screen and could quickly make any adjustments. We timed the whole movie in less than three days." "So much progress has been made in DI technology," Eisenberg says. "It's quickly becoming a cost-effective option for finishing films, but it's important not to get overly caught up with new technology and lose sight of the art. You can't put power windows on a flat image and create the shadows, depth and textures a cinematographer can create with their lighting on the set. "I'll never forget working on The Desperate Hours, a (1955) black-and-white Humphrey Bogart movie produced in VistaVision format," she continues. "The images were stunningly sharp with beautiful shades of gray and control of light. It wasn't my job to improve on what the cinematographer (Lee Garmes, ASC) achieved. It was my job to ensure that the film is experienced on TV screens the way it was intended to be seen." Eisenberg observes that DI technology has extended the role of colorists into a more collaborative role with cinematographers in manipulating looks. "I believe filmmaking is more of a gut reaction than an intellectual process," she says. "You can feel where a picture wants to go. The more freedom you have to follow your instincts the better it is going to be. I'm excited about our connection to Kodak, because we can play a role that helps to shape the future. The possibilities for molding new film and DI technologies in ways that support the art form are unlimited." For additional information, visit http://www.laserpacific.com, or contact info@laserpacific.com or call 323.462.6266.

Anybody know if the CCD's in the DVX (or CCD's in general) are designed to produce better results at the 3200 preset in which an 85 filter could be used for shooting in daylight?

I generally set my zebras at 100%. I turn zebra-2 OFF. If I see the zebras in the viewfinder then I know that part of the images is blown out, or about to blow out. If it's a cloud, highlight, or light source that's blown out I can choose to ignore it, but if it's a Caucasion face then I can iris down, back off the key, or put some powder on the talent.

Waterloo, Ontario, October 28, 2004 - DALSA Corporation (TSX: DSA) today announced that it will open the doors to the DALSA Digital Cinema Center in Woodland Hills, California, a suburb of Los Angeles, in January 2005. The 12,000 square foot full service rental facility at 6160 Variel Ave will be home to the DALSA Origin, the world?s first and only 4K digital motion picture camera. The Center will also be the first rental operation in Los Angeles to provide a full spectrum of digital cameras, accessories and services to meet the needs of production companies and directors of photography for virtually all of their productions, from reality television programs to feature film production. To realize its goal, DALSA has signed a definitive agreement to acquire the assets of Broadcast Plus, an established video equipment and services provider in Los Angeles currently serving broadcast and HDTV productions. The Company has appointed Mr. Bob DaSilva, owner and founder of Broadcast Plus, as General Manager of the DALSA Digital Cinema Center, joining DALSA?s senior management team. Mr. DaSilva, who founded his firm in 1980, will be responsible for building the sales team and professional services group in Los Angeles, executing the operating plan, and ensuring that the DALSA Origin camera is introduced to a wide spectrum of producers and directors of photography. ?The DALSA Digital Cinema Center and the Origin camera are poised to change the landscape of the Los Angeles camera rental market,? said Bob DaSilva. ?The Center will be the first ?all digital? camera rental facility with the capability and broad line of products and services to satisfy the diverse needs of today?s producers and directors of photography, whose everyday productions range from reality television programs to feature length motion pictures. DALSA has an extremely bright future in LA and I?m proud to be a part of it.? ?Bob DaSilva has a fantastic track record with established credentials among producers and directors of photography in Hollywood,? commented Savvas Chamberlain, CEO of DALSA Corporation. ?I am confident his enthusiasm for the prospects of the Origin camera will ensure that our camera and the DALSA Digital Cinema Center are a great success.? To jumpstart the deployment of the DALSA Origin camera in January, the Center is planning a series of open houses and in-house seminars to give members of the motion picture community a hands-on opportunity to ?see for themselves? the incredible detail and exposure latitude that the Origin can capture, as well as learn how the camera fits into the emerging 4K workflow. Designed for cinematographers with 35mm cine lenses and a through-the-lens reflex viewfinder, DALSA?s award winning Origin camera delivers the optical performance professionals demand. No other digital camera provides 4K output, but more importantly for cinematography, no other digital camera comes close to delivering as much exposure latitude. For more information on Origin, visit http://www.dalsa.com/dc. About DALSA Corporation DALSA is an international high performance semiconductor and electronics company that designs, develops, manufactures, and markets digital imaging products and solutions, in addition to providing semiconductor products and services. DALSA?s core competencies are in specialized integrated circuit and electronics technology, and highly engineered semiconductor wafer processing. Products and services include image sensor components; electronic digital cameras; and semiconductor wafer foundry services for use in MEMS, high-voltage semiconductors, image sensors and mixed-signal CMOS chips.

Help support this forum! The cinematography.com forum now offers a few perks to members who choose to upgrade their membership. SustainingMember BasicMember Upgrade Cost $30 free Attachment Upload Limit 15MB 100k Per Post Attachment Limit 2MB 100k Max Storable Messages 100 5 Run Your Own Blog Yes No Hangout In The Chat Rooms Yes No Remove 'Edited by' in own posts Yes No Start New Polls Yes No Upload Avatars Yes No Add New Content in Library Yes No Edit Topic Title & Description Yes No Add Calendar Events Yes No More cool stuff in the future Yes ehhh, maybe This is a one-time charge.Once you upgrade, you're in for good! Other members will see your new membership level displayed proudly next to each of your posts. Please consider upgrading your membership. It's quick, easy, and inexpensive. Secure payments are accepted using PayPal. Upgrade Now.

Panasonic's AJ-HDC27 VariCam® HD Cinema™ cameras were chosen over film to shoot the second season of Lifetime Television's highly-rated cable drama "Missing" (Saturdays, 10:00 p.m. ET/PT). Produced by Lions Gate Television Corp. in association with CHUM Television, the series stars Viveca A. Fox ("Kill Bill Vol. 1 & 2", "Ella Enchanted"), who also serves as co-producer. In each episode, "Missing" profiles a missing person case that is being investigated by FBI Special Agent Nicole Scott (Fox) and her partner Special Agent Jess Mastriani (Caterina Scorsone). According to Director of Photography David Herrington, earlier this year the producers asked him to research HD camera options (the first season was shot with Panavision 3-perf cameras in a Super 35mm format). "I had already shot with Sony cameras and wanted to see a comparison between 1080i and 720p formats to see if there were any real differences, and what the differences might entail," Herrington recounted. "At an HD seminar, I was very impressed by a film clip -- initially shot on VariCam. It was this clip alone that sold me on the idea of shooting the entire show on HD with the Panasonic camera. With the VariCam on board, I wouldn't have to carry a high-speed film camera on the truck, which would have increased the production's camera budget." Panasonic's AJ-HDC27 VariCam replicates many of the key features of film-based image acquisition, including 24-frame progressive scan images, time lapse recording, and a wide range of variable frame rates (4-fps to 60-fps in single-frame increments) for "overcranked" and "undercranked" off-speed in-camera effects. The AJ-HDC27 VariCam also features CineGamma™ software that permits Panasonic's HD Cinema camera systems to more closely match the latitude of film stocks. The DP, whose varied background includes feature films, television movies, and mini-series as well as extensive commercial work, continued, "We are currently shooting with two VariCams for most of the seven-day episodes, and our second unit shoots with its own VariCam. My crew had never worked with Panasonic cameras before, so there was a learning curve to start with, but as the days of prep progressed we all became impressed with what new technologies film techs could learn! I myself became more immersed in how I would have to approach lighting HD, and whether or not I would be able to adapt my film style to this technology. At the start, what interested me the most was that I could use three different gamma curves for capturing images. I decided to use the film gamma curve that allowed me to make all the scene-to-scene corrections at my tape-to-tape sessions. Using the Film Record Gamma Curve also allows almost a full tonal range, which is then sweetened during the post process." Herrington added, "Whenever possible, I like to shoot at -3dB gain -- this brings down the effective ASA of the CCD to 400. Because HD has some much depth of field I also liked the idea of shooting with as wide an aperture as possible; therefore, I had Harrison and Harrison filters made in Neutral Densities of 1.2, 1.5 and 1.8." Regarding off-speed shooting, Herrington said, "There isn't a week that goes by that we don't use either the high-speed or low-speed method to add punch to the show. I've particularly enjoyed explaining to directors that we do not have a high-speed camera with our package, and watch their faces as I explain that the VariCam is able to capture an image at up to 60-fps." He concluded, "The final proof that VariCam was right for the show is that we now have a highly-rated show on cable that many people don't know is shot with an HD camera (vs. film). Our coverage for scenes is greater than it was last year, and with the knowledge and help of a terrific camera, lighting and grip team, we have created a faster-paced show. When one considers that the final result of any image captured for television is shown on video tape, it makes economic sense for many shows to be shot using HD technology. And the more we learn about the process and equipment, the better the results become."

BURBANK, Calif., Oct. 25 /PRNewswire/ -- Buena Vista Pictures Distribution will officially make the switch to environmentally friendly pure-dye cyan soundtracks for all future 35mm film prints of Walt Disney Pictures and Touchstone Pictures releases, starting with the February 2005 release of Disney's "The Heffalump Movie," it was announced today (10/25) by Chuck Viane, President of Buena Vista Pictures Distribution, and Jeff Miller, President, Worldwide Post Production and Operations for The Walt Disney Studios. Buena Vista joins MGM in leading the industry's commitment to this milestone in exhibition technologies. This move follows Buena Vista's announcement of intent this past March, and the successful test of 2,800 pure-dye cyan soundtrack prints for the Touchstone Pictures' comedy, "Mr. 3000" in September. This new soundtrack technology represents a noteworthy environmental advance for the motion picture industry as it eliminates the traditional silver-applicated tracks and the use of caustic chemicals involved in that manufacturing process. Buena Vista worked closely with Dolby, Kodak, Technicolor, and NATO to perfect the technology, and to encourage theater owners to install RED LED soundtrack readers on their projectors. Commenting on the announcement, Viane said, "Our test engagement of pure-dye cyan soundtrack prints for 'Mr. 3000' was an overwhelming success and proved that the exhibition community is indeed ready for this new technology. Based on that success, we are proud to be leading the industry in adopting safer standards that will have a major impact on the environment. This latest innovation has been made possible by an unprecedented collaboration between Disney, NATO, and our manufacturing partners, and we salute them in helping to make the world a cleaner and safer place." Miller added, "This new soundtrack technology represents one of the most significant advances in film manufacturing in the past 70 years, and all of us at Disney believe very strongly in the benefits it presents for both our product and the environment. This has truly been an industry-wide effort to improve the way release prints are manufactured, and we are confident that this is the wave of the future. Starting in January, all of our 35mm prints will use pure-dye cyan soundtracks." In addition to eliminating silver and all of the associated caustic chemicals used in the old process, the new cyan soundtrack technology provides enormous benefits in terms of water conservation. Given that a typical movie release may require between 5,000 to 10,000 prints, it is estimated that this new approach to film production can conserve enough water to supply a town of 75,000 people with drinking water each year. This move requires exhibitors to equip their projectors with a visible red light analog reader (not infrared). For further information go to www.dyetracks.org.

I like "Photographed by"

My guess is that the big backlight is actually in the room just off frame above the pottery shelf and window. It might even be a horizontal mirror hung above the window with the light(s) closer to the center of the room and aimed at the mirror. The white outside is probably just a hot cyc or something. I also suspect there is a source similar in "shape" to the big backlight, but slightly more diffused, over the camera position pointed at the floor and table, and highly controlled with flags and such. (I can't see any window pane shadows on the floor on this old laptop I'm typing on now. That would change my backlight theory if I could)

Kodak is introducing KODAK VISION2 250D Color Negative Film 5205/7205 The first daylight-balanced film in the KODAK VISION2 film family You are invited to attend a presentation and demonstration 10 a.m. and 3 p.m. each day Tuesday, November 9 Wednesday, November 10 Thursday, November 11 Kodak screening room Eastman Kodak Hollywood Office Building 6700 Santa Monica Blvd. (on corner of Las Palmas) Parking on premises RSVP to 323-468-1570

Kodak is introducing KODAK VISION2 250D Color Negative Film 5205/7205 The first daylight-balanced film in the KODAK VISION2 film family You are invited to attend a presentation and demonstration 10 a.m. and 3 p.m. each day Tuesday, November 9 Wednesday, November 10 Thursday, November 11 Kodak screening room Eastman Kodak Hollywood Office Building 6700 Santa Monica Blvd. (on corner of Las Palmas) Parking on premises RSVP to 323-468-1570

Can you afford to rent a light balloon or two? http://www.sourcemaker.net/balloons.htm

I saw a Tiffen / Schneider comparison at NAB. Schneider had a stack of clear 'optical flats' from each manufacturer. Things looked really green through the Tiffen stack, and really clear through the Schneider stack. Schneider makes a nice polarizer too. The Tru-Pol.

Let the camera roll for a few seconds after the director says "cut" if you think there's still some magic happening in the frame, especially if you're shooting tape. Work harder than anybody else in the crew. Set an example. Thank everybody at the end of the day for the work they've done, and compliment them during the day when they do something that makes a difference. Try to remember and use crew members' first names. Try not to be sarcastic on set, especially early on in the shoot when other crew members might think you're being serious. Consider the sound department when you're setting lights so they can still get a boom in without worring too much about shadows. Don't flirt (too much) with the actors. Try to anticipate the next days shoot, and remind the production department at the end of the day if there's something you think they can do that will speed things up the following day. Take the camera/grip/electric departments out for a beer at the end of the week and buy the first round.

Two of the most alluring myths in popular culture are those of the reclusive artist and the lost masterpiece. These narratives coincide in this evening's airing of "Beautiful Dreamer: Brian Wilson and The Story of Smile," a feature-length documentary chronicling the most famous unreleased album in music history, the legendary work of Beach Boys' co-founder and composer, arranger and producer Brian Wilson. Directed by award-winning writer David Leaf and produced by LSL Productions (David Leaf, Steve Ligerman and John Scheinfeld) in association with Richard Waltzer's Chautauqua Entertainment, the film which debuted this month on SHOWTIME and will air again tonight at 9:00 PM (ET/PT), features dozens of candid interviews, including an unprecedented one with Wilson himself, exclusive "behind-the-scenes" footage of this past winter's tour rehearsals and the first ever Smile concert taped in London this past February. Director of Photography James Mathers shot major portions of the documentary with Panasonic's AJ-SDX900 DVCPRO Cinema cameras. According to DP James Mathers,"The portion of the program shot during the premiere concert at Royal Festival Hall was recorded using a six-camera remote truck with 24P HD cameras. The producers needed a more economical and portable camera to shoot the more than 100 hours of interview and background documentary footage, but the footage needed to cut up against HD. I researched and shot extensive tests with the SDX900, even cutting it together with HD footage at Sunset Digital in Burbank. With its high-quality 24P recording and native 16x9, even the facility's engineers were hard pressed to tell the difference, and of course, the SDX900 was a much more economical alternative. I found it to have many of attributes of Panasonic's VariCam HD Cinema camera at a significantly lower cost and decided to buy one SDX900 and rent another. I got a hold of 'Goodman's Guide to the SDX900,' a fantastic aftermarket guide to this camera, and gave myself a crash course in its operation." He continued, "We traveled the U.S. and followed the group to London for the premiere, recording interviews (including the Wilson exclusive), rehearsals, and documenting the backstage activity along the way. The producers could only afford a six-camera truck for two of the six nights of performance in London, so it was decided to use the more portable SDX900 cameras to shoot all reverses of the audience, effectively giving us eight-camera coverage and keeping our SDX900 cameras available for the other four nights of the concert, where we picked up shots that were hard for the tethered cameras to achieve. We were also available to shoot audience coverage of luminaries, such as Sir Paul McCartney, who didn't happen to attend when the HD cameras were present. "The audience was also not lit at all, making the challenge for the SDX900 cameras all the greater, but I think they performed magnificently." James Mathers rented additional SDX900 cameras alternately from Birns & Sawyer and Bexel, both in Los Angeles. Panasonic's AJ-SDX900 offers filmmakers the ultimate in acquisition flexibility, expressed in the operator-controllable selection of EFP-quality 4:2:2 sampled DVCPRO50 or classic 4:1:1 sampled DVCPRO recording, with support for native 16:9 wide-screen. The AJ-SDX900 combines in one camera the "look" and "feel" of electronic film, high-performance 525-line field production, and low-cost NTSC compatible news. It is also the first 50Mbps 4:2:2 sampled standard definition camcorder to offer 24 frames-per-second progressive scan (480/24p) acquisition, in addition to 30 frames-per-second progressive (480/30p) and 60-fields-per-second interlace scan (480/60i) capture. James Mathers has served as Director of Photography on more than 25 feature films and movies-of-the-week, and has seen six TV series from inception thru their first season. While still active as a Cinematographer, he also regularly produces, writes, and directs a variety of projects. He is a co-founder of the nonprofit educational cooperative, The Digital Cinema Society.