Igor Trajkovski

From the Bydgoszcz Airport web site the bus line is 80: How to get to the city centre (LINK)

Yeah, i remember this! :) Red about it then how they made it, the months of rendering on their home computers and so on... :) "405" (film) - wikipedia article

Thanks for the explaining. I've watched some videos for some remote controllers and i think there were such features mentioned, but since I'm not inclined toward the 1st AC duties and knowings, I've forgot the exact features and which model/brand was in question... :)

When using remote focus pulling, is it possible for the controller to be set to linear response, or to any other response you are comfortable with independent of the lens?

To me the online footage i see from various DJI's looks amazingly good, so i wonder are they used for big feature films or you NEED an Octacopter with Alexa/Red/Whatever with big sensor thing... :) (production won't permit using "toys" for their movie)

Why would you shoot 30p if your finish is 24P? Yes, the distribution of those 30 frames in the 24 will result in motion irregularities. Even image irregularities. Depends what your software does, it may not drop the excess frames, but blend them together - 2 images in one. Or some motion estimation tricks might be in place generating some or all the "proper" 24 frames by analyzing the 30 from the original footage... If it is just the video you need, simple slowing down of the footage (interpretation) to 24 will do the trick. It will be slightly longer and play back smooth in your 24p project.

AR as in ARnold + RI as in REAd. or Ah-Ree Here videos where germans pronounce it: (links at correct time start) DW Deutch: Made in Germany | Weltmeister: Kameras von Arri Arri Alexa 65 (german)

"During the shooting of a movie, the sound engineer is very strict and needs absolute silence to ensure the control of the sound captured. Photographers have to use a blimp, it’s a sort of box in which you put the camera in, it is noise canceling. That’s very expensive, heavy, very restrictive regarding the controls and is then annoying to use. The Sony A7RII is a little revolution of its own. It is quite surprising at the beginning and you have to get used to it as you’re not sure to have pushed enough the shutter button." ----------------------------------------------------------------------------------------------- SOURCE: Being A Movie Set Photographer: Alex Pixelle

Theoretically and what looks from the videos practically it can be turned off completely: Sony | α | α9 | a9 - Shutter - Electronic vs Mechanical Demo

Mirrorless cameras with turned on electronic shutter only and all sounds off still not good enough? :)

This would be best suited for the On Screen subforum. Say, entitled "Deadpool 2" :) Cheers.

For playing back on TV via USB stick, H.264 as MP4 or MKV should work. I would suggest you try out a test render of a test chart image with all the luma values to see how the codec renders and how it will playback on the TV. I've tested 8bit source material with luma values 0-255 rendered on different mp4 codecs and Xvid in Sony Vegas. The Mainconcept AVC codec clipped the values: 0-16 became 16, 235-255 was 235. Sony AVC was full - keeping 0-255. Say your codec renders full values, playing that test file back on the TV can show you how the TV deals with the values - maybe it's player makes everything below 16 black, and from 235 white. A safe bet would be to apply a final master levels effect to make your black be 16 and whitest white 235. Render in any H.264 codec (AVC, MP4). The worst thing could happen is your footage can look more contrasty with some crushed blacks and whites. ... Test chart files HERE

It might be also helpful to take a photo(s) from the furthest position without the tracks, more or less the FOV intended in the dolly shot for reference and cloning purpose. Even other images - different angles of the area where the track will be.

In the VFX breakdown video for David Fincher's "Mindhunter" series i saw pretty lengthy dolly track removal :) Here the video, it is the 1st shot. Even when switching to the 2nd camera the track from the 1st is there. Shot executed with two simultaneous cameras. Mindhunter VFX Breakdown - Artemple PS: Smoke and mirrors... :) PPS: All of it.

Hi Gregg. From the specs i've seen, the IVF and VF have the same measuring range -2 to 19.9EV (at 100ISO) so i guess the same photocell. The difference is small in some functionality: ==================================== Shutter speeds: IVF go in 1/2 increments, VF has selectable steps in1 full, 1/2 or 1/3 stop. CINE speeds: both 8-128fps. VF has also 25fps. (we had this discussion in previous THREAD) PS: IVF might not have 30fps. Workaround - select 1/60. On IVF you get to the CINE scale after 1/8000 shutter, on VF you select a dedicated CINE mode where only the FPS's are available. The IVF is calibrated/offset via screw in the battery compartment, on VF via menu. The VF has Flash/Ambient Analyze function on the screen via 4 part circle. In my opinion, the IVF should be great and sufficient for cine work. Lot of good specimens form Japanese sellers on eBay. I wanted a VF and got it for similar (slightly less) on auction. Cheers.

Westons are selenium. If selenium is not an issue i would recommend better to stick to the older L-398's, because the familiarity with them.

What about Roger Deakins' meter? :) Gossen Luna-Pro SBC (name in US) elsewhere Gossen Profisix The key word is SBC - Silicon Blue Cell - as used today in modern meters. Great sensitivity: -4EV at 100ASA You can do reflected 30 °reading by just sliding the spherical diffuser to the side. Runs on 9V block battery . From what i've red it is heavy and big (-ish): Later Gossen released a version of this one called Luna-Pro F (Lunasix F). Same form factor, ability to measure flash and reduced sensitivity to -1EV at 100ASA. .............. More info at: http://camera-wiki.org/wiki/Gossen_Profisix_/_Lunasix_F Gossen Luna-Pro SBC user manual at butkus.org - LINK

All 3 generations of L-398 covered: http://camera-wiki.org/wiki/Sekonic_L-398 It says - 1st and 2nd gen. are with selenium cell. 3rd gen. uses a newly designed Amorphous photo cell.

The IVF not. The Minolta VF and Minolta VI are now Kenko KFM-1100 and KFM-2100.

I think for a cinematographer a meter with swiveling head would be better.

I searched from your hint, it seems really a 6-light Mini Brute: On the set image, from that angle, the way the light falls on the back of the unit makes it look as being very flat. :) The power of optical illusion. Thanks.

When searching images with/about Italian cinematographer Tonino Delli Colli, i came across this image from "Once Upon a Time in the West" (1968): I can't help it, but the lighting instrument behind the camera looks like a led "thing"! :) That era - i don't think so. Maybe some fluorescents?

Cool! Thanks for sharing!

YouTube 2min video: DaVinci Resolve 14 New Features: Dead Pixel Fixer

@ Samuel Berger Shane's site has detailed test on the Ursa 4K and Ursa Mini (4.6k ?). Have you seen them? Ursa 4K - Part 1, Part 2 Ursa Mini - Part 1 (links to other available parts at the end of the article)