Colm Whelan

Hi David thanks so much for your response. Yeah I thought the pro res would be more than enough. its crazy how fast these guys hit and kick and for performance they feel they have to maintain that speed and energy. so the frames are showing transparency but its keying ok. in your opinion is shooting twice the frame rate worth it or is it just the higher shutter speed that will help. we want to keep the action as natural looking as possible. also shutter speed or angle? normallly I use angle but the smoother motion is actually not helping the process. hence I was on here wondering what people prefer to go with for best results.

I've been doing some testing at varying frame rates and shutter speeds for a martial arts film. The speed of the kicks etc make for some very challenging images as they blur and blend with the green screen a lot. the options for this project were Red One or Sony F3 recorded to 4444 pro res at 360mbs. Just wondering if anyone has found an optimum frame rate/shutter speed for keeping sharp line details on such fast movement. Don't think a higher end camera is an option with budget.

thanks for the answers guys. its a B camera on a feature and they want the Alexa in 24p for print. it does not have to hold sync for very long. its cut aways mostly for action sequences. it is now being suggested that the F3 shoot in 25p and take a 24p signal from that so at least they are not duplicating frames in post. right now the 23.98 footage is showing a lot of frame blur on the 24p timeline so I guess there is an avid post thing that will have to be done with whats already shot

The F3 will only output in 23.98 and I am trying to match it to an Alexa shooting 24p. I am recording to a sound devices pix 240. does anyone know if there is a way to record 24p from the F3 in this set up or does the Alexa have to alter its rate to 23.98? thanks

thanks Alex ideally I'd just green screen it but for complicated reasons it has to be shot on set today and we're stuck remotely without proper green screen. portable one has gone missing. VFX guys not very helpful so I'm stuck figuring it out. like the china ball idea.

shooting a day for night low light interior. scene will be illuminated by some motivated moonlight spill into a hallway. main character is carrying an led torch. trying to figure out a way of floating a ghost towards him as resources are low. someone suggested placing the ghost standing on a dolly platform covered in chromakey green and shooting a plate to match but with it being such low light not sure it'll work. anyone been thru this and have a solution? appreciate any thoughts

sorry forgot to say 1900 euro asking price ono

Was gifted a Samurai and now my nano flash is spare so I am selling. it comes with 2 x 32 gig sandisk extreme cards. dtap power connector, mains power chord and camera hot shoe mount bracket. 18 months old. based in Ireland so UK or european shipping is no problem. all offers considered

Thanks so much Brian and Jerry. thats very helpful.

I posted a few weeks ago on this but did not get any responses. I will be in los angeles next week and would love some info on where is good for service/repairs on a sony digibeta 790 (pal). I have a lit pixel problem. I would be very grateful for advice and recommendations. thanks

I've been doing research but I cannot get any real recommendations for where is good for this camera repair in los angeles. trip coming up soon and I really would appreciate any info I can get from any of you guys based out there thanks

Looking for a recommendation for repairing a lit pixel on a pal sony digibeta 790. I had this problem before but I'm based in dublin and have to send it to london and they then send it to amsterdam. It takes 3 weeks (while Im stuck hiring) and they then charge me 2500 euro for the job. Its not covered in insurance. I am hoping to be in los angeles over the next few weeks and wondered if anyone can recommend anywhere there to have it done during my weeks visit. I'm sure it will be cheaper. thanks

thanks Hal, this was a one man band shoot. So I was rigging lights myself with an assistant. as it turned out after arriving with permission to rig we were informed by an overly sensitive employee that we were not allowed to use any lights. so we had to film on available. but thanks for the thoughts

Thanks David, yeah its a doc. but its a large painting hung against a murky looking wall but the director wants not only the detail of the painting but also in its setting so hence the question. so they want to create some interesting lighting for it. you've given me some ideas with what you've said though so thanks

yet again I am presented with a large painting hung on a wall. I've tried various ways over the years to make this interesting and never been really happy. just wondering if anyone on here has ever come up with anything interesting or a way of reducing how flat it looks when you shoot straight on. I'm using tracks and am toying with creating a window frame light effect that falls over some of the painting but its a tricky thing exposure wise. any suggestions?

I've been offered a set of canon primes at a great price (B4 mount). anyone used these before. would appreciate any feedback as I cant test them til they are in and thats a couple of days before my shoot

thanks for that Stuart. great info

Thanks Stuart. yeah I have the link for the bbc settings but appreciate it again. I was just kind of wondering if people had run into issues with other settings. I tend to go a bit heavy on things so it looks good while I'm shooting it but I have not gone to print with anything to date. Its been tv docudrama. I have a feeling I need to pull stuff back cos a print will bring up issues. but I dont know for sure. just picking up bits here. the production cant really afford digiprimes and I'm looking for alternatives so hence the enquiry about dof adaptors and how they work

I am about to shoot a feature with the f900R. I am comfortable with this camera and its menus but the transfer to a film print is a new departure for me and I'm trying to avoid the pitfalls. I am reading on here that there are various settings that I would normally play with that will adversely affect any transfer (like the black levels). So I have a few questions. Can anyone tell me what I should not change if I want the optimum result for a film print. I wanna create a particular look as the movie is set in spain and has a western feel to it so I'd like to go some way down the road of the look in 3.10 to Yuma. But I know I can get what I want in camera grading (obviously not as good as the movie but in the right direction) but I dont wanna do it if the film transfer is then going to suffer also I normally operate in 25fps. (pal) Is it a major advantage to shoot 24p when transferring to film or should I stick with 25 and alter it in post. should I shoot 24 and let the post house sort it out? also I am using a set of zeiss digiprimes. I've heard people on here talking about dof adaptors. can anyone explain? is this just a system for using 35mm lenses? thanks

also I am using a set of zeiss digiprimes. I've heard people on here talking about dof adaptors. can anyone explain? is this just a system for using 35mm lenses?

I am about to shoot a feature with the f900R. I am comfortable with this camera and its menus but the transfer to a film print is a new departure for me and I'm trying to avoid the pitfalls. I am reading on here that there are various settings that I would normally play with that will adversely affect any transfer (like the black levels). So I have a few questions. Can anyone tell me what I should not change if I want the optimum result for a film print. I wanna create a particular look as the movie is set in spain and has a western feel to it so I'd like to go some way down the road of the look in 3.10 to Yuma. But I know I can get what I want in camera grading (obviously not as good as the movie but in the right direction) but I dont wanna do it if the film transfer is then going to suffer also I normally operate in 25fps. (pal) Is it a major advantage to shoot 24p when transferring to film or should I stick with 25 and alter it in post. should I shoot 24 and let the post house sort it out? thanks

thanks. thats something I've heard before. but how do you shoot a framing chart accurately. I assume it means to mask the viewfinder

and thanks everyone for your help

thanks. will do

I really wish it was that simple. unfortunately ireland is very very limited regarding rental houses and they are not generally in a teaching mood