Jamie Metzger

Perfect Idea. I'd love to see framegrabs of Anamorphic lenses compared to spherical lenses on the alexa.

3200 seems unnecessary to me. I've heard requests for slower ISO's ;)

I've seen the Alexa balance on someone's shoulders, hands-free, right out of the box with an Ultra Prime on it. It's a beautifully designed camera.

Use Apple Color. Make sure to setup your monitor display to the correct Gamma setting (in your preferences -> Display). Also err on the brighter side of the monitor settings so you don't blow anything past 100 IRE. Redcine-x now supports Final Cut EDL's so you could do the majority of your color grading (one light) in RC-X and then any secondaries in Color or Davinci Resolve :)

Here is a music video I shot in february on 35mm: http://www.adampatch.com/view_project/syg_gaia.shtml

www.teradek.com/cube.html Tell them I sent you

I remember reading that Fincher did that on "the social network" I can't see that as being a very viable option these days, as I normally blow through 20+ CF cards /day. I recently did a a 3 Camera RED shoot where we shot 500GB/day, plus I was transcoding on set. This was a very "full time" job.

Hey Brian, ken Burns has been working with Buddy for the last 20+ years or so. They both shoot. I'd suggest watching "man on wire"...amazing.

www.prolost.com

Scott and Andrew, Thank you for your replies. We ended up shooting 709 to tape. The DP used a Blue Vision (1 and 2) at times as a flare & low con filter. In direct sun, it did get a little too contrasty, but with light cloud cover, it looked just fine. I will post examples soon. I did show the DP how I was able to ingest the footage, drop it onto the timeline in FCP and then send to color so he could grade the footage; on my laptop. He was very impressed. Hopefully we will eschew the SR tape in the future.

I completely agree with all of your above posts. I've been pushing for it to be file-based. What I wanted to know if there was a way to accomplish the original topic. If not, let me know. If there is, please do the same.

Anything useful to add Saul?

I have a job coming up where the client want's to use the Alexa and record to HDcamSR (through SRW-1 deck). Totally fine, but they also want to record logC to the tape, which is still fine. They don't want to have to color correct in post. What do I do now? What exists to color logC on set, before it get's to the SR tape? LUTher box? I might be able to convince them to shoot 709 to tape, but they didn't seem to want to do that... Don't even bring up shooting to SxS. That conversation has been had. Thanks for the help, Jamie

George, you are barking up the wrong tree. The only film work the 16 does is G&E. They did get a guy on as video utility on Trauma though. The Local 16 is very different from the 600 in terms of "getting in". It takes a long time to get noticed. Then it takes a longer time to get accepted into the Apprenticeship program. After a few years of apprenticeship, you become eligible to become a journeymen. It takes a while, to help weed out the people who aren't comitted.

The best thing you can do is discuss the procedure with scripty and sound before the start of the day. Sometimes the sound guy is doing "single-system", which means he/she is monitoring the sound, but sending it to camera. In that case, the camera see's and hears the slate clapping. Wether you call out the scene/take is up to you and scripty, but it's redundant. Also note that "single system" can also be the sound guy/gal recording to a Sound devices (or Dat...etc) and not sending a signal to camera, in which case they might need you to call out the scene/take #'s for slating reasons in post. Sometimes they have a mic attached to their recorder and they call out the slate info, so you just have to call out "marker" Make sure you hold the slate completely still when you clap it. Hold for half a second and then get the hell out of there!