Chris Burke

A 65mm camera is an interesting choice. I thought they would have built a 3 perf super 35 or 2 perf. I guess the overall trend of "Bigger is Better" remains. The fact that is records audio, if I read that correctly, is strange, but it seems that they are adding many features taken for granted in a digital cinema camera. All the video add ons sound great! All in all, a great idea. I too hope the price is such that rental houses don't or won't charge too much for using it. Best of luck!! Looking forward to seeing it.

Oh you said per minute which does make it a bit more. I still would go all in Super 2k DPX from the Scanity.

Get super 2k (2048 x 1556) from the Scanity, DPX. For around 200 pounds, it is not that bad.

Perry, what about a used DiTTo? Or did Blackmagic buy all those up for the chassis?

I meant to say the added sensitivity of the 500T is a plus. Both it and all Kodak Vision 3 stocks have lots of exposure latitude.

Yes, that is one reason. The other being the 500T has more exposure latitude, so it will be easier to get a denser negative. Use LEDs that are tungsten balanced. Shoot a grey card or scale. Getting a clean image, white being white, will give you the ability to grade the image to your liking in post. If you want to nail the look in camera, use lights balanced slightly warmer than the stock you use. So if you are shooting on tungsten stock 3200k, use a 2700k high cri led Since you can get the light very close, the 50D may be possible, but that extension tube might be a problem. Still, high lumen high cri 4000k leds are easy to come by. So it is easy to change the led to suit the stock. fresh 35mm is very low grain despite iso. Sounds cool. please share your footage when you are done.

I believe that camera has a 1/86th shutter speed, not the typical 1/48.

Are you shooting 35 or 16? if 35mm, then shoot 500t, if 16mm shoot 200t

Why isn't there time to test? I read that here on this website and hear it time and again from all kinds of people with varying degrees of experience. Test? Yeah right? I am not picking on you, it is just that this is an area where people think they are saving time and money by skipping a test. Big mistake. Often one hears, "We want it to look good, but is it really necessary to test? Can't you fix it in post?" Many different formats and cameras out there seem to make the differences in lighting instruments stand out more. You will pay for it one way or another.

Both handle over exposure very well. They are known for it. A full stop over is no big deal. Daytime in full sun you really don't need overexposure, but night exteriors could use it. Presuming you are shooting at 24fps 1/48th and using the 250D at night, you will be close to wide open anyway. If you can change stocks, try 7219 for night time.

I have not seen this film, but will soon. In the stills you provided David, it looks like Fonda has a prosthetic nose on. Is this the case? It looks rather good for the year the film was made, but doesn't look like the Henry Fonda I know.

I couldn't agree more. Over all there seems to be a bit of a bell curve in play at the academy this year. I enjoyed Shape of Water, but Oscar worthy?? In my opinion Three Billboards was the most deserved of the nominees. Get Out should have had a lot more accolades, although I am glad it got Best Original Screenplay.

Aatons are great cameras. In the past there were debates as to whether an Aaton was as sturdy as an Arri. If they are, you can't tell. As an Aaton owner, I would say that Aatons are not fragile in any way. Arri SRs are fantastic cameras, so are Aatons plus Aatons have the one up on a SR by being much more hand held friendly like a K-3. Save up for one of those and if you are on a lower end budget, get one with an Aaton mount. It will give you the ability to use lots of great, cheaper lenses.

Harmony Korine's Spring Breakers used 2 perf and anamorphic. For which reason?????? 2 perf can look really good.

It might be the cartridge is jammed. A somewhat common occurrence with negative stock. Try taking it out and putting it back in again. That works for me. Be sure to take note of the film counter, as it will reset once you take out the cart. Beyond that, the belts, if any or gears may be jammed. The easiest and cheapest fix is to purchase another camera.

it seems that they have expanded their 70mm screenings. It is playing near me on 70mm and I going today or tonight.

which episode did you shoot? Season 1 or 2? I will look forward to that one in particular.

smart producers ask for 3 backups. Some don't even know how important that is and have a PA clicking and dragging files for one back up only

David, Was 5245 used as IMDB stated? Did you get to watch dailies? I got the first season in UHD for Christmas and it looks incredible! Really good! Great look.!. Bravo! Anxiously awaiting season 2

But as said before, blimping a K3 may be too much work for what you get, only two and a half minutes. I would look into other methods for sync sound. Like record an audio only take immediately after the film take. Roll audio for both, but do an audio only take with your camera wrapped in a sound blanket. If you can, have the camera far aways as possible.

Nope. On all the big shows I have worked on, the stills photographer always had a blimped DSLR. They all shoot Canon or Nikon. Perhaps the specs on a mirrored shutter cam fits their needs better.

yes, you can do a slow digital zoom. The only real downside in the indie world with UHD or 4k is storage. Even then it isn't that big of a deal. It can be too much and or too expensive for some.

Yes, went into the setting and chose Intensity several times. Like I said before, it works fine with other programs and I do have a splash screen. I wonder if it has something to do with a software conflict.

Which canon 814 az is it? Either way, they will meter at about 1/60. So keeping that in mind, it never hurts to go one stop over. Don't worry about loosing highlights, that is very hard to do. This stock it very forgiving in terms of underexposure because it has huge exposure latitude.....

I am on a macbook pro 13 inch 9.2 running 10.11.6, 16 gigs ram, resolve 14.2.1. I get no video out despite checking all setting. I get video out with other programs like FCP 7. I also get video out when I boot the computer with Intensity connected, I get a Blackmagic splash screen. Kinda ironic that it doesn't work with same vendor hardware/ software. Anybody have a similar experience and fix??