Bryce Fortner

Thank you all for your time and informative posts. You are right, it doesn't seem the extra sharpness is worth the cost... just wanted to make sure of my decision before I made it :) Looks like I'll be shooting SD. Thank you very much, Bryce

Hello, I'm shooting a couple promos for a cable network that broadcasts in SD. Budget is on the tight side, and editorial has asked that we shoot to tape (cutting out RED, Panasonic HD, etc.). My thinking was to shoot with the F900, then down convert the footage during color correct, but the couple camera houses I've spoken with have said there really is no benefit to doing it this way. I would figure the increased resolution and color space could only be a good thing, but does it make more sense to keep it all in the SD world and shoot on something like the SDX900? I just wanted to get some other opinions before I committed to shooting SD. Thanks a lot! Bryce

Thanks, Brad. I just stumbled onto that one this afternoon... seems to be exactly what I need... thanks for the tip.

Hello All, I'll be shooting a short film in a couple weeks that takes place entirely on a bicycle. Production has built a platform that both the bike and the camera will be mounted to (we'll be shooting on the RED). We did a test and the platform is a little shaky. They are working on stabilizing the rig, but I was wondering if any of you knew of a tripod head that would act as an additional stabilizer to help with this... I've read a little bit about the Gyro Stabilizer and CCI's anti-vibration head, but don't know anyone that has experience with either of these. Steadicam is an option for us, but I was hoping to save the money and see if there was an easier alternative. Anybody have any thoughts? Thanks!

I figured it would be about 5 stops down from 24fps... so that seems right. Thanks for the help!

Hello, I'm shooting some stop motion tomorrow on an older Eclair ACL. The camera's motor has been modified for stop motion and holds one frame for 3/8 of a second. I've been trying to do the math in my head, but was curious if anyone here had an idea of how I should compensate my meter to get the proper exposure... I appreciate any advice. Thanks!

Thank you all for the advice. Unfortunately this will be a total run and gun affair. We only have the location for a few hours (at night) and I won't really have the time to re-lamp or gel the units... Though, as this will finish digitally I'm not too phased about color temp. The camera package is being donated to us, so I'm afraid that super speeds are my only option (though I wasn't aware that standard speeds would flare less... do they just have better coating on them?). I think I'll try to light the talent with a seperate source and bring them up to a stop where I shouldn't have to worry about the intensity of the flaring... and from there just cross my fingers. Tim, I remember I had the same thought you did about a soft source not flaring a lens... imagine my surprise in the telecine suite when the actor's face was masked by this huge flare (and there was no discernable flaring in the eyepiece)! Fortunately, because it was a sci-fi flick, people seemed to buy it and though it was intentional... I cringe every time I see it. Anyhow, thanks again guys!

Hello, I'm shooting in a hospital location this weekend and we have some tracking shots looking straight up into the ceiling; acting as a stretcher 'POV'. I've had bad experiences in the past with getting flares from existing fluorescents... which can be pretty ugly! Outside of shooting with an eyebrow and hard matte, does anybody have any ideas/tips on how to avoid getting these flares? I'm shooting with an S16 SRII and Zeiss super speeds. Thank you!

That's perfect, thank you! I'm assuming they're rectangular...

Hello, I'm shooting a music video in a couple of weeks on a Super16 Sr-II with PL mount lenses. The director is asking for an in-camera kaleidoscope effect, does anybody here have any experience, or tips, on getting this effect? Thanks!