Pedro Millan

Hey everyone, I start shooting a low budget film on Sunday on the Alexa with their new SUP 7.0 in SxS ProRes 2K 16:9. They just sent out a message today announcing there are two bugs in their new firmware. Apparently the half pixel missing in the center of the image is only noticeable when comparing it to a 2K ArriRaw image. I think I am good but still nervous about this sudden news, especially when I'm start shooting in a few days, wanting to throw this out there and hear any thoughts you may have. Below is the Arri message.. Thank you, P Dear Customer, We found two independent bugs in the release version of Software Update Packet (SUP) 7.0. While we are working with high priority at eliminating these bugs, it is important that you are aware of them and the possible work arounds. Please read the following information carefully. 0.5 Column Missing in ProRes 2K 16:9 Due to a miscalculation in the image processing path for ProRes 2K recordings, there is a column of about half a pixel missing in the center of the image. This effect does not seem to be evident when the ProRes 2K picture is viewed by itself. However, when compared to a 2K image that was processed from an ARRIRAW frame (2K from 2868 setting), it will become apparent. This bug only occurs on 16:9 sensor mode with 2K SxS Recording Resolution. If you have a 4:3 camera (ALEXA Studio, ALEXA Plus 4:3, ALEXA M), switching the sensor mode to 4:3 will prevent the effect. The recorded image then needs to be cropped in post to the desired aspect ratio. If you have a 16:9 camera (ALEXA, ALEXA Plus), switching the SxS Recording Resolution to HD will prevent the effect. Unfortunately we have to strongly recommend against using ProRes 2K 16:9 on these cameras until we deliver a fix.

Hey guys, Anybody knows where I can rent an underwater housing for the 5D Mark II in NYC? Can't find any rental house in the city that rents it. Any suggestions will be much appreciated. Thanks! p.

Hi guys, I would love to hear some of your impressions about the new Canon D5 Mark II. I am about to work with a director that wants to shoot 16mm mixed with some Canon D5's footage. Any thoughts? Lenses? thanks! p.

Hey guys, Hope everyone here is doing good. Was wondering if any of you know what kind of lenses did they use to shoot The Son by The Dardenne Brothers. I know it was shot on 16mm with the Aaton A-Minima but was curious about the lenses. Any help would be very much appreciated. Thanks, p.

thanks matt. I've heard good things about the Lettus. Will try it. Best, p.

Good Job!! The stills look really nice. Can you write a little bit about which 35mm adapter did you use? I am about to shoot a project with the EX1 and I am considering to use an adapter. Thanks

I tried to use the Atlantic software but it doesn't work with HD material. Or is that I download the wrong software?

One other thing. When you say speed the 24p up to 25 you mean doing it on the Atlantis software? What is the difference if I convert it with compressor? Thanks

Hey James, Thanks for your response. I am using Compressor (Apple Pro Res for interlaced material HQ)to convert the footage and DVD Studio Pro to burn. I will still check out the program at dvfilm.com and, yes, it takes a looong time to get this done. thanks again, p.

Hey guys, I am trying to finish a project that was recorded at 1080i50 and 1080i60 by mistake. I burned a DVD and some of the footage looked over-pixelated and kind of jittery. I was told that I should convert all the footage progressive and then either everything to 25p or 30p. I was also thinking converting it to 24p as a final product but this is the first time I am dealing with something like this so I am kind of new. Does someone has any idea? Any previous experiences like this? Thanks,

Hi, I am debating between NYU and AFI. I havent been accepted to neither yet but next week I have interviews with both. AFI was always on my mind but now that I am flying to NY for this interview everything is kind of blury again. I guess I have to wait and see if I am accepted in one of them. Anyway, I know there are some exstudents of both programs an would love to hear their experiences. I know both programms are very different, NYU is Film Produciton and AFI is just cinematography. So my concern is, what programm is more convenient as a cinematographer and how does it look the panorama after attending to this schools. Thank you guys, pedro.

Janusz Kaminski also directed some movies. One of them, Lost souls, was shot by Mauro Fiore who was Kaminski's gaffer for a long time. Hania was directed and shot by Kaminski himself and is beautiful.

Chris Doyle in "Paranoid Park"

Hey, I went to that same screening and found the movie very touching and beautiful. Unfortunately couldn't stayed until the end of the Q&A. I admire the fact that the entire movie was shot on location with natural and bounce light. I loved the way they moved the camera on the very first sequence, where the girls are playing with the ball. Do you know if he talked about the lenses he used?

Michael Bravin's explanation is very helpful and says that one has to change the backfocus often: "at beginning of day, after shipping or changing locations, and whenever the temperature changes enough so that you have to remove or add clothing to stay comfortable". But on location I had to change the backfocus every time I changed the lens no matter what. No matter if the camera was in the same position, same location or same temperature condition. So I guess that what Carl says its possible because the HD "lens are made of non complimentary metals so dimensional stability is an issue and the mount geometry can change with extremes in temperature". quoted from Michaels Bravin article http://www.bandprodigital.com/cgibin/eDatC...atalogno=TEK-BF On the opposite lens and camera mount of film cameras are made of stainless steel that is very precise and strong. I don´t know you guys, but it seems that makes sense to me.

Hi Everyone, I worked with a F900 with Panavision lenses. Every time I changed the lens I had to adjust the back focus so that the real ft meassure between the camera and the actor could be marked in the lens. Otherwise there was any reference and it was impossible to pull the focus without them. My question is what happens in the optical process when the back focus is adjusted? Does any other camera needs back focus too? why do the film cameras don´t need the back focus adjustment? Thank you guys... pedro

That is nice!! Was it a still photo shooting?

Hi guys, I am a huge fan of Manuel Alberto Claro, check out his web site and enjoy... http://www.manuelclaro.com/

Thanks for the reply, My girlfriend has been an actress for ten years and she knows the industry very good but she wants to move to directing. She was wondering about going to PCFE in Prague for directing school so I was asking if someone here in the forum knew something about the school. Anyway she didnt go, we find out it was not really what we expected. She save her money and now she will start a project in L.A. with that money. Anyway, thanks a lot.

Hey Daniel, Thanks for the info. That's exactly what i must do, take it to a Panasonic dealer. It is a shame because the camera was semi-new when this problem popped up. Anyway, lets fix it. Thanks

Hey... I own a PANASONIC AGVX-100 but i haven't been able to shoot with it for while. The image shakes really bad and there is a sign that never goes away and says: WARNING PSD. I dont really know what does that mean.....do someone know what is this? And do you know where can i take it to fix it in L.A. area? Thanks guys,

Congratulations!!! that web site looks very nice..... i just had a look on it and seems very interesting, i will have some questions for you...

Sorry for the paused but i have been a little bit busy these days, Gary, the postproduction house that transfered the first test is called Grupo de Leon in Mexico City and i dont really know what you mean with what the lab is running to get that 24p film look......do you mean the 25HDV footage? Leo, yes, the tests where transfered directly to prints.....i made a digital color correction before printing, thats what i meant....

One of the reason is because of the budget, the production had two Sony Z1 HDV cameras ready to shoot. And we needed to start sooting the project as soon as posible. At first i wanted to shoot the documentary with the Panasonic HDX-200. But i realized that i liked the filmlook you get with the HDV 50i. I like the HDX-200 24p filmlook if the project will end up on a DVD or video. The interlaced gives a less video look when transfering to film, less sharp and a sense of blurish, which i think is closer to how the film looks.

Each test was made with different people. The first test was really well done, i could see a good and clean image free of strobe or any other aberration. I was able to choose the footage i wanted to transfer and we made a color correction before it. But the second test was less good. The worst thing was that the image was shaking and the movement of the characters was not constant but cuted. We gave them over 5min of footage and at the end they transfered a minute of it but they had some trouble with the format. We are shooting on a Z1 at 50i directly to a Sony firestore and the tricky part is that we ended with a M2T format which we have to convert so we can see what we shot. This format is not recognizable by any version of Final Cut or Quicktime or Avid. We found out a M2T program conversion that allows us to see what we shoot and to transfer it to HD. Anyway, these people had trouble with the M2T format and couldnt transfer it properly. Now they want to do another test at 24p.