DetroitDIT

My suggestion would be to shoot a test and see how you like Super16mm transfered to HDCAM. Even do a little compositing. No matter what anyone says about this ratio and that ratio it all comes down to two things. 1) Does the footage look great? 2) Do you like it? I believe that you would be very happy with the results. Your not trying to reinvent the wheel here, this has been done with a great amount of success in the past. Just ask Kodak. Great success with your production.

Glad I could help. Tough position being an AC and then saddled with the responsabilities of trying to make two cameras work as well as AC duties they really needed a DIT too. It never ceases to amaze me how production companies never have the time or budget to prep properly, but they ultimately end up spending more money and time waiting around with a whole film crew on the clock when problems like you described occur. I hear of this sort of thing happening often and I'm sure I'll hear a simalar story again. Glad you made it through.

i I agree with AshG. If you worked with an out of town company you should at least get the money up front for the gear. And gamble on your day rate if you want to (I try to get at least my 10 hours up front and worry about the OT later.) But 30 days is a little soon to jump ugly with the production company there are many who work the you get paid when we get paid thing. And let the crew carry the financing for 90 days. Good luck.

That idea works well I did the reverse shot at 48fps audio play back was at 2x with a wide shutter than slowed it down to 24fps and we created a very dreamy effect very easily.

That sounds like a very frustrating shoot. The whole premise is flawed from the begining. First is the notion of trying to match the B camera to the A cam that way. There is an easier way to match two cameras. I had great success with this method on a feature I worked on last summer using two Cinealtas. I brought the cameras together and matched them on the same white source taking care that the gamma curves were identical and black levels were matched perfectly. Then I saved the settings in the reference file on each camera. I also backed the settings up on a memory stick. On this shoot we only used preset white balance on both cameras and we corrected the lights if the white balance did not look right witch wasn't very often. For daylight we still used preset but corrected by changing to filter wheel D or A depending on the DP's wishes. If one camera woke up incorrectly I would simply recall it's reference file, Auto black balance and we were back in business. We only used a paintbox (RMB-150) on B cam when it was on a crane and needed to be rolled remotely. When I connected it to the camera I took great care to ensure that preset WB had been called and that the pedestal, gamma and knees were all in their detent settings. Another thing to remember is [/u]never hot patch the RMB-150. Connecting or disconnecting the paintbox while the camera is on will throw it into fits. The "format error" that you got when trying to save to the memory stick I've seen when using MS's that have the "Magic Gate" on them. For whatever reason these MS's need to be formatted on a PC then you can use them in the F900. Ask Sony why. This is my first post let my know if I was helpful. DetroitDIT (Don't panic... it's only ones and zeros)