darrin p nim

pretty sure its hvx200, my first thought was with the redrock m2. But the more I look at it, it looks like it could be a brevis35 or something similar as far as build. definitely not B&W 16, the oscilating flare at the end of the music video is the dead give away, some sort of 35 adapter. I dont think that redrock creates that type of movement with the ground glass, and the P+S doesnt either.

I stand corrected. Thats actually good to know, Ive been meaning to test that out with the hdx, i had access to the HD1400 and should have done a test of my own... So much for listening to word of mouth, tends to turn out the like the game of Telephone... Mitch, is there really difference? as far as progressive capturing? Or am I just listening to wrong people?

I am not too sure about shooting 50p and creating a slowmotion effect in editing, though I am fairly sure that it wont work like the Varicam. It was never built to compete with the Varicam, So I know it wouldn't be as fluid if the frame-rate was converted. If i remember correctly the HDX shoots progressive differently (some one correct me if Im wrong) than the Varicam. As for the shutter angle question, Yes, the sychro-scan is adjustable up to your desired angles.

i wasn't completely thinking logisitically but i think the point still stands, if it werent for budget.

Do you have ND? Enough to cover that wall of windows? You can try to bring down the exposure of the windows and that can enable you to have effective light output from your hotlights. I wouldnt suggest using your hotlights anyways, considering matching color temp with them either limits your time frame or cuts the intensity of the lights. What's runs parrallel with the windows? Is it a wall? Most likely not from what i read but a large bounce source can effectively utilise the existing daylight to give you what you need.

i hope your not judging it from that flash video. although i do know what your saying, alot of these highspeed HD cameras use the same technology, including the cmos sensor, ive shot on a Redlake Highspeed HD camera and it has the same "pre-shot" or in my case pre-trigger option aswell as the image quality. Because of the sensor has to perform at highspeeds the dynamic range is crushed in order to operate at such fast frame rates. Sometimes the resolution just cant make up for the loss of image quality. Its interesting that the technology has made it into a standalone DSLR body.

I just graduated Brooks Institute a few weeks ago, and Im looking for work. :rolleyes: But mainly, I cant help but think that i want to invest in something. Something to help get me work, or to include in a kit fee or just for my own sake. I have been thinking about a Camera (HD or 16, or ?), an LH1700, Kinos, or Hot lights... Honestly Im not too sure. I'd thought I would ask here to see if people have invested in their own equipment and what were the benefits of doing so. Was it at first and/or overall an intelligent decision. I feel that here in LA that anybody will take advantage of you if you have an HVX200, which really turns me off from that (and honestly not my favorite camera) but the next step up would have me open a loan inorder to purchase. An lower model Aaton can be affordable but can carry issues if it hadnt been serviced, which can be common. An LH1700 would be benefitial to me as a HD light meter(Waveform), with a visual output, Im not absolutely fond of it because of it being LCD but the waveform for me is nice. Kinos? I like kinos. But I dont know if they would benefit me as much as a camera would... Same as hotlights, cheaper than Kinos but other factors keep them from being on top of the list. Any thoughts?

i believe this is common with the camera because of its low light sensitivity and 1/3" chip. Its trying to pack in HD information into a small imager.

I was thinking it could be that simple. Then I think I over thought it. So, it possible it could be a post thing, Im wondering who would know?...

So take a look at it, I believe its a farely common music video trick. http://vids.myspace.com/index.cfm?fuseacti...ideoID=17845218 Now Im pretty sure that its undercranking the frame rate and playing back at normal, in order to make this work with music they, slow playback and the musicians/actors/etc. move slower to compensate. This syncs the action and performance when played back. Is this correct? Id like to test this but I do not have access to a camera at the moment as it is 1245AM. Please tell me its this simple but if not, how does it work? Its not shutter speed/angle/syncro scan, im sure of that. Thanks.

Just curious but your not looking to split them up are you? Sell single rolls that is? Again just curious.

I did alittle investigating myself. Sean Chou who on their website is claimed to have 2nd ADed on PoolHall Junkies as his first job given to him by film-connections is actually named Shaun Chou (according to imdb) but actually was the assistant to director, big difference, and im sure film-connection new the difference.

Sorry, i think this is the appropriate section. So my biggest question has stemmed from past issues of viewing work over the internet. Now, a large majority of viewers have monitors that aren't at all close to proper calibration. Do you guys ever worry about your work being viewed online and people interpreting them without understanding whats wrong? Example: I just shot a music video that takes place in a graveyard at night and it will mostly be viewed on the internet but will possibly be on television (mtv, fuse or ?). Now im sure it comes into play which direction to decided to output for but im trying to accomadate both but to be honest mainly broadcast TV. So I calibrated it on SMPTE calibrated monitors. My biggest problem is that many home computer monitors (in my experience) show my work on average to be more contrasty and darker than on a calibrated monitor. Do you guys worry about this? This latest music video is perfect on a calibrated monitor but is fairly dark on computer monitors which worries me when any one is viewing them. Im sorry if it doesnt make much sense but i hope you guys get the idea? what do you guys do? I will follow up later in regards to why i dislike H.264 aswell. Thanks.

I too didn't feel that 2.35 was absolutely necessary here. I honestly think that it was fairly awkawrd as it felt that the framing wanted to be 1.33 or atleast 1.78, maybe 1.85. I just felt that it was just forcely masked in post to feel theatrical. Im not sure if you have an unmasked version that doesnt reveal any equipment or etc. but id like to see it compared to this version. I like the shot compositions for a few of the shots including the wide revealing wall of paintings but I also imagined them in a less wide view.

http://www.filmtools.com/wc-597-5.html

Thanks for the info, the Varicam comes with the preset CNSCO "Cinescope". We were able to utilize that and for the HDX we were able to set up a frame chart and set the marks in the VF according. I can find out exactly how when i talk to my AC. I could find out myself but he already knows how to get to the menu setting. Ill let you guys know as soon as i can.

What are some steps i need to make the two match? What should i be aware of when going to match in the Varicam? Thanks.

I know Sony cameras can be set to have 2.35 markers in the viewfinder but can Panasonics? If so, how? Thanks.

hey thanks guys, dtc wont do a weekend rate but were in the works with freyer for a weekend rate well see what happens next week. again i appreciate the info, if theres any more feel free to list them. thanks.

Hi guys, Im shooting a music video in/around San Francisco in the next 2.5 weeks and i need to find a quiet 500amp generator with camlock for a good price. Right now we're looking at Cresco Equipment Rentals and theyve quoted us at 662-690 and thats w/o tax for the weekend. I need to find a competitive price or a weekend rate through another company and was hoping maybe some of you guys from the Bay area could could help me out, if you can i would be very greatful! Thank you!

Im looking around to see who other than Clairmont, Birns and Sawyer and Moviola rent out the Pro35. Im looking two rent 2 for a weekend shoot. Clairmont apparently only has one and is unavailable that weekend. i havent been able to contact B&S and Moviola im waiting to hear back from. Any other places that rent them in LA? Any one? Thanks. EDIT: And Abel CineTech

100 watts (in paperweight) is 1 amp. so 1000 watts or a 1K is going to be 10 amps but I believe the average amperage level is 8.6 amps for a 1K.

well i think that certain cinematography should embrace all aspect rations and not be limited to widescreen. i think widescreen has just become such a standard that it has lost its edge. 4:3, to me, shows that beauty can be shown through a not so cinematic frame. It feels more unique to me seeing it in 4:3. I just recently shot a Victoria's Secret Spec Commercial and i shot 4:3 @ 1280x960 and i think it works and im happy with the look. You realize thats a 5 million dollar fine? :) Dont ask me how i know.

test it. if you have the 558. get a 18% grey card and read an incident reading off of it, then a spot reading. if it gives you different values, first consider your factors: is your lighting environment completely controlled? is your grey card lit flat and even? is your lumisphere retracted in or out? are you spotting from the same direction as your incident reading? and so forth. best way to find out is to test. the last reason you could be getting different readings (if you are) is that the meter needs to be recalibrated. ive been told atleast once a year. Ive never heard of a difference with the spot and incident.

i enjoyed it. althought to be a little honest i watched it on the lots website and i kinda of liked it as 4:3, for the most part atleast.