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A. Whitehouse

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Everything posted by A. Whitehouse

  1. Is it just software or does it have a hardware component? I wasn't aware Arri had a software arm.
  2. Don't give them the footage unless these are people you trust or you're willing to never see a dime for the hundred hours of editing. They may not rip you off, maybe they're stand up people but the fact you're asking this question suggests something may not be right. Follow your instinct. My only suggestion is be honest with them about your concerns, and be sure to mention the hours of editing already put in but I wouldn't give them anything until you've had that conversation. I've had this happen to me a couple of times and it sucks because you often do the whole gig for less because you know you'll make some back editing it. Best of luck...
  3. Merlin is S16?!? God I'm surprised, it looks grainy but has very high production values. I must admit I thought it was an American production with a mix of English actors and American's putting voices on. What about the cgi and comp shots? Is it all shot S16? I don't know if its worth asking but what is the "Tudors" shot on?
  4. Ive never seen this before. Is it a polarized gel? I have a shoot next week were I'm shooting in a empty office tower for two days and this would be a great tool for parts of it. May I ask (Don't want to Hi-jack the thread) but if the windows on the building are polarized already, on the outside, does anyone think I could achieve a similar effect with the Polarizer in my lens kit? Ive been battling with how to keep my exposures consistent through a days shooting when there's so much variance. Interesting idea, the video on the website shows a very startling effect...
  5. I agree with Oliver, certainly that's been my experience with the P + S pro. In my opinion if you're shooting at around f4 then the DOF characteristics would be similar to shooting with the stock lens wide open on some of the 1/2 inch chip Sonys but I haven't ( and probably can't ) done the math to bear this out. Certainly the adapter is far more apparent the further you're stopped down and I've seen some weird colour abnormalities related to that as well ( vignetting etc. ). F3.1 to F2.9 isn't a stop faster either. If the DOF is similar, is it really worth the added hassle for a possibly minimal return? That's for you to decide but I would push for some superspeeds or perhaps think about renting a better 1/2 inch lens instead of the adapter. Would Standards wide open be within budget? Actually they may not cover S35, I can't remember. The EX3 is quick but that's still a lot of light you're going to have to push through that front end to get to a stop of 2.8 - 4 if you aren't shooting in day light. Not to discourage you as they can be quite fun to use but in my experience you might not get the result you're after even in SD. As far as I know I don't think the 18-85 functions any differently to any other PL lens. Good luck with your project.
  6. Id just like to throw in one of my favorite hip hop videos http://www.youtube.com/watch?v=Czi5jC-bDx0
  7. As have I. Moving up to a 2.5k HMI and its handled the weight but nothing less than that has. I burnt a hole in one once when a blondie drooped into it. Quite a pity. Very good tool though the chimera, I like them a lot.
  8. Some of the DVDs and and BDs still retain these segments (not the books unfortunately). On a related note how does everyone feel about the modern trend to release a 2-3hr cut for cinemas and then a blown out 4+ cut on DVD as a special edition. You can pretty much count on one hand the number of films that were improved by doing this and for some reason the others just annoy me. If you couldn't fit it into the theatric release or if it didnt help the edit then why do it? "Kingdom of Heaven" being an example of something which was immeasurably improved in the long edit, it made so much more sense and filled in so many crucial gaps, and something like the "Apocalypse Now Redux" and the star wars directors cuts being something we could have lived without. I know there are redux fans on here but so few of the extra things do anything for the film except make it longer. Painful. IS there a trend towards films getting longer? I havent watched many 90min films recently that I can think of...
  9. Their innards are always similar. My personal philosophy is big and cheap. I have 5 portables (more over the years) and the only rule is buy the largest drive you can afford and the cheapest enclosure which doesn't disintegrate in your hands. I know some people feel a benefit from going with the more expensive lacies (sometimes twice as much if not more for the same size) but there really isn't much of a difference in functionality and the actual hard drive in them will be from a known manufacturer and its far more likely to fail long before the enclosure. I do however have one Lacie. Unless you intend to get one of those excellent Raid in a box enclosures (which are well worth spending more money on) or need the enclosure to be ruggedized (is that a word?) in some way then I would spend the bulk of the money on getting the largest drive in reach and a small portion on a decent enclosure, 3.5 or 2.5 inch. You can even find Lacie knockoffs if you like the look of them. They are, after all, all made in China and Taiwan...
  10. Was it "The Village" issue? Was there a village issue I can't remember? But it did have a large long single take hazer scene. The effect was of fog coming out of a grove of trees which was lit from either side. I can't remember what they did to achieve this so I'm not much help I'm afraid...
  11. Oops, forgot to include L'avventura Which is one of my favorite films, felt embarrassed to not include it. Got to see a print a few years ago, looked absolutely stunning...
  12. Ive seen so many of my favorites already mentioned. Just throwing some out there as examples of particularly good Black and White photography (and excellent films to boot) The Innocents Seconds Good night and good luck Down by law Seconds is a film which seems very ahead of its time in style and use of location shooting. Some great hand held short focus stuff which wouldn't seem out of place in a modern thriller. I don't know if they're my absolute favorites but I think belong on a list. As do the earlier Kubrick and Hitchcock films as well.
  13. I would try and get some indication of hours and responsibilities with a penalty involved for straying outside the agreement. Otherwise my gut instinct would be that they are likely to take advantage of you. Any experience is not necessarily useful if its been an overwhelmingly poor one (Spoken as someone whose had many of those). From the sounds of things your gut is telling you the same thing, follow that. The money is kind of besides the point because few things can compensate you for having to work 16hr days, 6 days a week for 6 weeks. They're not going to offer the job to someone else just because you have questions about your responsibilities. It sounds like it could be a very positive experience for both parties and asking questions shouldn't hurt your employability. My two cents...
  14. I can plug an XLR Mic or mixer into the 5d? I didn't realize that, where is the input? How is the sound processed?
  15. Id like an idea of how genuinely manual the controls for the shutter and iris are (and nearly every other function) when in video mode. Id like to know what I can do with a 30fps clip in a 25fps environment and just how bad the jelly effect is in a real world situation. Could either of them be used to shoot a sit down interview ( I'm aware they don't record sound ).
  16. Then you're in luck. From what I understand they shot over an hour of extra material for the dvd release.
  17. While its nowhere near as interesting or creatively heart wrenching as having to protect for drama this is something which happens in advertising all the time and with some interesting solutions to get the best results for broadcast. It seems so backwards that such a long running series decides to do things so differently after so many seasons and a show which has been lauded for its look at that. I wonder if the audience will notice? First digital now this, next thing you know they'll want to bring Superboy's dog Krypto back to the series... On another note, while its something I don't watch, I have friends who are nuts for Smallville and get the series boxsets and everything they can lay their hands on. Congratulations on such a successful show.
  18. Got to play with it at Panavision last year. Its really big and I have to admit my first reaction was that this seemed to be something which is better handled in post (particularly when the systems rental price is so high) but it did carry some serious street cred and the lure of doing it optically is tough to ignore. It didn't have that nifty Sega Genesis controller when I saw it, that's probably worth the rental on its own. My impression was it doesn't actually change the plain of focus so there's uses for shift and tilts yet. Plus I can't imagine this hand held... Assistants with Playstation experience required.
  19. There is a 100th anniversary Lumiere collection in which they used Hand cranked cameras and traditional techniques for little shorts directed by a variety of film makers including Lynch. I forget what its precise name was.
  20. Guy Maddin films have that "Turn of the century" feeling. Or at least some of the early ones do. There are still film makers out there who desire an antique (maybe that's not a very fair term) feeling. I can't think of a time I was ever sitting in a theatre and felt a lack of fps and I've never heard a layman mention it to me either. As far as HDTV being broadcast in 50fps or 60fps I'm not sure that's true but I'm happy to be proven wrong. Thomas do you mean 60i or 50i? This isn't really the same thing which I'm sure you're aware and I'm fairly certain that the broadcast streams aren't robust enough to stream variable framerates even at 720p. I have a bluray player and I haven't seen a single 50fps (I'm in a PAL territory) disc. Is it happening in sports? And how? I think it would look distracting and obvious. I'd trade the extra bandwidth for less compression rather than more frames and so would most others here I think. Its taken this long to get progressive scan at home.
  21. Looks great John, hopefully it will screen in Melbourne sometime. The trailers a slow burner but I got a real shock at the end. Best of luck a SXSW.
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