darrin p nim

I will be there tomorrow.

This book will help you out alot. Its great. http://cinemasupplies.stores.yahoo.net/camasmanbyda.html

i was lucky to get my samcine from a ex-AC in LA for $75. Have you called filmtools? i thought i saw one the other day there but i could be wrong. call panavision like Rupe said. I saw some DOF calculators their the other month but maybe not the SamCine.

You got a PM.

I called Panavision, they have them in 4x5 but at the moment i believe the matte box im renting is a 4x4, i hope the guy is wrong. well find out exactly this friday. Plus Panavision doesn't just like to rent filters out, so it may be an issue but they may make an exception. I called Tiffen today as they carry 4x4 streak filters but i wasnt able to get ahold of any one. I will be contacting, Clairmont, Otto Nemenz, Schneider, Format and who ever else i think could help. im hoping that the camera houses are against renting just filters :) Anyone have any other suggestions?

i have a couple more questions. about operating with the camera, im concerned for my operator as ive noticed that with the phantom that they dont have eyepieces/viewfinders. the cinespeed does. if i some how ended up with the phantom or a camera like it (which may happen as we have found a rental house with theyre own type of highspeed hd cameras). How will my operator be able to operate? By using an on board? how have you guys handled that issue? because i notice most footage i see with this cameras are static. How are follow focuses and non-clip on matte boxes attached? I know i wont be able to get an exact answer but on average how much does the phantom hd and/or cinespeed rent for for a weekend in LA? with out lenses just the camera and system. please help if you can thanks.

bump. does anyone know where i can rent 2pt star filters in or around LA? please let me know as i am behind and will be shooting in 2 weeks.

hmm the vantage blue-vision streak filters seem alittle too special to get my hands on. After i posted this, I did notice the page on claudio's website about the anamorphic lens flare test: http://www.claudiomiranda.com/Alpine.html http://www.claudiomiranda.com/Alpine75mm.html From what i read it can also be a 2pt star filter, i found that harrison makes them: http://www.camerafilters.co.uk/page116.html Thats good news, in post the program Knolls Lighting Factory can do the same effect but i personally would like to do it on camera. Does anyone in LA know where to rent these Filters?

in claudio miranda's alpine commercial you can see the effect i am speaking of: http://www.claudiomiranda.com/alpine264.html you can see it mainly at the beginning. in the streets and at the bar. This has to be a filter. If not, a post effect? Its the same idea as using a star filter but i cant seem to find any info on this specific filter that do this. I would think that there are different grades of this filter as well, some that create larger more pronounced streaks. Can some one help me with this?

bump

Hey, guys im shooting a victoria secret spec commercial within the next month. I am looking into shooting with the cinespeed as i may have a chance to rent it for a good deal and the director calls for slow motion imagery. I will be working with this camera on a music video in less than a couple of weeks but i would like to know what im looking at as far as lighting before then. so my question revolves more around the EI of this camera. I will only really want to shoot at around 150fps or what the cameras closest equivalent is. i would love to try a few shots at 300-500fps but because i have a feeling i will lack the light to appropriately attain an image i will hold off until i can finally put some more numbers into lighting this bad boy. My locations are studio interiors, bedroom, hallway, living room/couch area, so forth. I have yet to scout the locations because they are not locked. But from the looks of it i may be able to play with daylight for some of the rooms. But before i get too deep into to this what am i looking at? K. Zanit? E. Matos? Anyone? Thanks. EDIT: Im planning to keep this around 720p aswell, what am i looking at as far as work flow?

Hey guys, I have the oppurtunity to purchase a SamCine mk II DOF Calculator, and i think that its a good purchase. Although, i havent been able to find much information on the mk II but the mk III. Though, its not a perfect substitute but i have the pCam and pCine programs on my Treo. How is the SamCine a valueable asset compared to these programs and what are the biggest differences between the mk II and mk III. Thanks.

Whether it is a waste of time or not, it was his intended question. He may already understand the difference in shooting the two formats. The questions regarding the rental of the camera equipment. The answer for the original question will vary, it really depends on where you get it from and which type of 435 and which type of SR3 and ect. The cost of the 435 package with more expensive without a doubt and i would say to estimate that the cost would be any where from 50-33% more for the 435 package. But thats if you dont haggle.

Rear projection is an interesting thing, I have researched alittle on it. I searched the forums and i found very little and ive only seen so much on google. I understand the concept but i dont know the technical aspects. I would like to know as much as possible about creating and using this technique, if any one can point me to good references or could elaborate on the technique that would be great. thanks guys.

Seems even with my 4:2:2 SD image FCP does not handle the colors well, After Effects seems to handle it the better. Is there another program other than those two that are better at handling color correction/manipulation? I think programs like Kodaks Look Manager is alittle of out of the question, something more "practical" i guess.

The place is in Burbank, It's Magic Film & Video Works, ive seen good stuff and bad stuff come out of their myself. I think the colorist you refer to is Brian Leon, he's a good guy, i worked with him on a 16mm short i shot. Although i dont want to judge him off of that one experience but he was quick, he took direction well and seemed to know his stuff.

i dont feel that its meant to be hidden, i feel that P+S vibrates/shakes it add to the aesthetic of the film appeal. film grain artifaction is never the same for every frame, it is always changing, i think that P+S developed the movement to mimic that. i believe this because other 35mm adapters do not have spinning GGs like the P+S, yet im sure theyre GGs are more finely perferated or something to have less distracting artifacts.

Well i hope im not offending you David, I guess i just was unclear, my knowledge on the internals of the P+S is obviously limited, that is really the reason i posted this. To ask. I probably am wrong with my theory that it was overlooked, it's just that i do strongly feel everyone is looking for that film-look and the grain just adds to the look, so why bother getting rid of it? you know? Even if i tried to answer any of your questions, Im sure they are rhetorical, so ill save myself the embarassment. Not that it matters, but in my defense, im still learning. I posted this to get some questions answered, had i come off demeaning and arrogant, I apologize but this was just one way i had to learn.

my answer for that is: the industry is so preoccupied in recreating the film-look that the idea has been either over-looked or unrealized. correct me if im wrong but my understanding of the P+S's ground glass is that it is just a perferated piece of plastic (or something of the nature, is it actually glass?) that sits, to put it simply, inbetween the camera lense and the 35mm lens on the adapter. The image is never captured from the ground glass itself, moreso from an image reflecting inbetween the 35mm lens and the ground glass, on a mirror i believe. does that sound right? now taking into consideration what you guys have said, my question is if it necessary to have a plain at the point of the ground glass, what if the ground glass was replaced with a clean piece of glass that didnt oscilate? would the system still work and give the desired look?

double post...

yes, what mike says is what im questioning. my question is mainly in regards to the HVX and the P+S. I understand i could use other methods to essential get the end result but that would defeat the purpose of this idea. yeah i could use the factory leica lens on the hvx and zoom in but that wouldn't give me true (or close to exact) FoV nor DoF. I guess what im saying is the ground glass in the P+S is only there for a couple important reasons: -to give the image the film like appearance -to give the focus point for the connecting camera "magically" remove the ground glass and the image should theoretically be grainless and in focus. correct? i guess im trying to spark the development of a grainless 35mm lens adapter, if at all possible.

as cinematographers im sure we have all considered it. Certain productions can call for the clean look of HD and some times film is the "look" that may be necessary. What if the production calls for the Depth of Field and a grainless clean image? but because everyone wants the film look this has never been mentioned, atleast not with the hvx (as far as i know). So is it possible? Ive only really brought the idea to a few and ive heard mixed replies but follow me here. If you were to take the P+S adapter and some how remove the ground glass, would you still be able to attain an image? i think that if you have your zoom and your focus set (to where the ground glass should be) that you will. I do understand that you have to have the ground glass to set the zoom and most of all the focus. But theoretically speaking, it should work. Aside from that idea, is there another way to achieve the DoF without the grain? Thanks.

Any one know? if i cant get this light i will get stuck using the kino blankelite and im worried it will be to small to light this car.

Im looking for the Chimera 5x10 F2 Light Bank to rent in LA but i would like to know where i can get ahold it for the cheapest. Im working on a shoot this entire weekend and i obviously dont have to time to look around. I would like to get it reserved asap by the beginning of the week. let me know if any one knows of a place. Thanks.

So im an idiot, compared to 16mm not 35mm.