Craig Needelman

Well I think I've solved the issue. On the 3 cameras we have 1 Fuji 7.5-133 lens and 2-Canon wide angle zooms, a 4.5-50 and a 5.2-47. The 2 Canons are a stop slower than the Fuji. I don't understand it, but they are. To match the video levels out of the camera you have to open up the camera that has the wide angle on it a stop more. It's the same no matter what camera I stick the wide angle on. Any thoughts?

I'm working off the same scene file on all cameras. I've got 2 cameras straight into the scope comparing, no splitters. Shutter is set at 47.2, a number we got early on that seems to be the best speed to limit strobing. I've compared different filter wheel settings. Everything so far is exactly the same. Any other ideas? By the way, why would you use PHALFSHUT on if you get a better stop with it off. We didn't see any strobing difference on or off. Thanks for all your suggestions so far. Craig

Just tried turning PHALFSHUT ON AND OFF and didn't see any difference on either camera.

PHALFSHUT is set to on, on all cameras. what now

I'm on a shoot in Maine with 3 SDX900's. We set up the cameras shooting the same CU and set the video level to match on each camera using a scope. The new SDX900 is about a stop slower than the other 2. All cameras are set to 0DB and the knee is identical. We even swapped lenses and the new camera is still a stop slower. Any ideas? Please reply on list. Craig Needelman DP Philadelphia

I thought I could match 2 SDX900's by taking my SD card out and reading the same file onto the rental camera. Both cameras were in preset, same setting on filter wheel. Skin tone did not match. I then white balanced each camera and everything was perfect. Shouldn't they have matched in the preset mode?

The scene file Filmlike2 has been removed form our SDX 900. Where can I download that to put it back?

We are shooting a lot of blown out scenes. Would there be any better detail in the whites with a cine alta, other than the obvious HD benefits, than I can get with my SDX900. I realize that once we're in the clippers that detail is gone, but will the cine alta do a better job before we hit them?

Get a chimera and an egg crate for the Arri 650 or better yet, get the chimera and use a Lowell Tota light and save the Arri 650 as another source

We own some of the original style Kino's here and I'm looking to buy a few more. I'm trying to decide between the older style Kino 4', 4 bank and the new Diva. I know that the Diva has an internal ballast but that's about it. Anybody have any experience with both of these lights? Craig Needelman Shooters Post & Transfer