Illya Friedman

Dear Brenton, It's your PL to MFT adapter. Most brands fail in this regard. If you had the original PL to MFT adapter, the Hot Rod Cameras "Hot Rod PL" you would not experience this problem. I.

Perhaps you'd be surprised how many people really don't know what's going on and need help. Also, I've learned the hard way that "SHOULD" has nothing to do with a functioning piece of motion picture equipment, especially when you are losing the light! My two cents... there's several potential problems going on, and if you want this figured out it's better to swallow some pride and ask a professional for help. I.

Well said.

As was already stated 16/35 PL mount lenses are supposed to be the same FFD, but it's of course possible that someone shimmed glass to a particular camera, rather than the proper way (the other way around.) Any qualified lens tech can tell you if you lenses have a FFD problem in a few minutes. Since you are in L.A. Tyler, Hot Rod Cameras can of course do a quick check for you in a few minutes for a small fee. All the best, I.

The SR I can be modified to PL. I would contact Jorge at http://www.cinematechnic.com/ to see if he would do it, or recommend someone who still does. I have a feeling that these days purchasing a PL mounted SRII/SRIII might be less expensive. Good Luck, I. Illya Friedman President Hot Rod Cameras Hollywood, California www.hotrodcameras.com

Any PL mount that is not shimmable should be avoided for professional work. Few mounts are properly shimmable, and shimming requires expensive test equipment. This service runs about $100-$150 on average from a professional rental or lens service facility. We have solved this problem by performing the shim service for free on any mount purchased directly from Hot Rod Cameras. As the inventor of the PL mount adapter for MFT cameras, and the source of the PL mount adapters to professional motion picture rental houses world wide- my company knows a little something about this.

In the interest of full disclosure my company sells bags… I am also working with a company based in Europe who has made the highest quality bags for another industry for more than a decade and is looking to launch a new brand and line of bags for motion picture, and they are inviting feedback. What is it that you like/love about a particular bag or what is missing from other bags out there that you would like to see? I have a list myself, but I'd be interested to hear what others think before I send an email with a "wish list". I. Illya Friedman President Hot Rod Cameras Hollywood, CA www.hotrodcameras.com

Hi Adam, I think you mean electronic shutter rather than electronic sensor. The answer is yes. All the Canon DSLR cameras have a curtain shutter in addition to the mirror shutter. The mirror shutter does not actually control the exposure time, it's the curtain shutter which is left intact directly in front of the sensor plane. If you lift up your mirror you can see it.

This is not true. Both the Canon 7D and 5D Mark II retain all still photo capabilities (including time lapse with an external controller). The only exception would be program modes which would rely on the light meter to make the exposure choice. There is a lot of misleading information on the web. If you don't have the right equipment, changing out even 1x PL for EF mount could be a several hour event. Better to have someone qualified do it the first time. Once your EF mounts on the lenses and shimmed correctly, they will work fine, with some limitations. This is what I would recommend to someone who can live with the rotational play inherent in the EF mount design and doesn't want to use two or more cameras with their lens set at the same time. For professionals this is generally (although not always) a deal breaker. Also with EF mounts you can't share lenses and keep accurate focus marks, attempting to do so will result in a different focus mark for every EF mount camera you attach the lens to. This is because EF with cine lenses is actually a "cheat" as the ONLY way to get accurate marks is to miss-align the lens by shimming to a camera with a sensor position in what is considered sloppy tolerance. Only PL mount lenses will allow you to share the lenses and you'll know they will always work. I've had 2x people send me their Ebay EF to PL adapter asking if I could "fix" it. Turns out the ebay sellers, don't understand the basics of what it is they are selling, and are quite silent when the customer is angry because many of the lenses on the list don't fit on the camera. I know for a fact that they DO NOT work with any CP lens. One of the ones I received was built so poorly that it wouldn't actually close on any PL lens correctly, regardless of being attached to a EF mount camera or not! If you can live with the limitations I outlined above, definitely go with the EF mounts for your CP.2 lenses. I would contact your place of purchase for the lenses to see about ordering the EF mounts specific to the lenses you have (they are different). If you aren't sure if your vendor can do this for you competently, you're welcome to contact me directly. Hot Rod Cameras is a Zeiss dealer, and we have many of those mounts in stock and can make the change over for you. Hope this helps, I.

Hello all, I have a Sony F3 camera for sale. Camera has had little use and includes everything in the original box. Prices is $2500 off the new camera price- $11,460 (or best offer). I have the expensive removable S-Log option, although I was not planning on including it with the camera. You can purchase the permanent upgrade for $899 now direct from Sony, or I will sell the $4000 version for $799. Camera is located in Burbank California and I would prefer to sell to someone local if possible. This was a camera I purchased for a project, and I paid the sales tax, so there would be no sales tax even inside of California. The camera needs a good home. Please email me at circle_of_confusion@yahoo.com or call me at 323-230-3589 office. Thanks, I. Illya Friedman President Hot Rod Cameras www.hotrodcameras.com

If you are using the same size/shape imaging sensor and the same optics on all cameras, they will all have the same depth of field, as these are the two criteria that effect DoF. "Best quality image" is a loaded question. If we are talking about the Red 1 pre-MX upgade, the dynamic range king would be the GH1, followed by the Canon 5D Mk2, then Red (yes, really) but we are splitting hairs here, they all have about identical useable (not measurable) dynamic range of 8-stops. Test for yourself if you don't believe. However, post MX upgrade, Red is in front with dynamic range, GH1 second, 5D mk2 in last. Resolution based on what the camera can output actually or hypothetically? Actually Red, hypothetically Canon. What will give you the best 1080p image per $ spent is probably the best question, I used to say it was the Canon HV20, but for the past 13 months, you can't get a greater bang for you buck than the GH1. At $1,189.95 online, it's astoundingly impressive.

Hi Peter, No misunderstanding. You got it right. I agree that it's odd, this has not been my experience with other cameras. So far the most dynamic range (and most pleasing images) is coming from the setting the camera at 100 ISO and rating the meter at 640. Everything in the teaser posted was shot this way (or at 400 ISO rated at 2500!), color correction in the teaser is not final. The rule of thumb I've found with the GH1, protect your highlights, fill light your shadows.

Hello all, I've been helping some talented filmmakers put together feature film over the last few months. The website finally went live this weekend and I can now talk about the project. The website/blog for the movie can be found here - www.finndependent.com The project is also a milestone for myself, because it's the first feature film to use my product, the Hot Rod PL. I'm happy to answer technical questions about the movie to the best of my ability. I. Illya Friedman Hot Rod Cameras www.hotrodcameras.com

Two Evolution bodies are on hold/standby for a studio project that started shooting with them last year. Despite the many inquiries I've received about availability, AFAIK DALSA has made no concrete or public plans to rent them to anyone else. A shame really, several high profile jobs were lining up for Evo cameras in 2009. Unless something remarkable and unexpected happens, all will end up shooting on another film or digital imaging format. I.

Hi Stephen, I don't have permission to distribute frames from "Reach for Me". However, I may be able to get a frame from another project to be made available. I. Illya Friedman DALSA Digital Cinema Division Woodland Hills, CA www.dalsa.com/dc

This project (http://www.niagarasfury.com/) shot with an Origin and the SI2K mini cameras is now open to the public near Niagara Falls! There are many more projects using DALSA cameras I'll be able to announce in the near future! I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc

There's a good follow up to a story that mentions post production for the feature film "Reach for Me" here: http://www.studiodaily.com/blog/?p=603 Something worth noting- the time listed of "2-frames per second" is for the highest possible quality rendering. I'd rate that quality level as a little beyond spectacular. I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc

Hi Tony, There is no sharpening taking place inside any DALSA digital cinema camera. I'm not sure what images you were seeing, or for that matter where, and under what circumstances you saw sharpening, but there is no sharpening in the camera. Please let me know, I would like to see the image in question. I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc

http://www.007.com/ click on the Video tab near the top November 7, 2008!

Hello all, Those braving the heat at Cine Gear this Friday and Saturday (6/20 & 6/21) will get to see a few DALSA Evolution cameras. These are not just empty shells, but hand-built functioning prototypes! Production worthy beta cameras are due to land next month! :D I. Illya Friedman DALSA Digital Cinema Division Woodland Hills, CA www.dalsa.com/dc Visit us at CINE GEAR EXPO this FRIDAY and SATURDAY (6/20 & 6/21)

Hi Andrew, One thing you have is options- Assuming you're talking about conform rendering and not proxies...? There are software and hardware/software combinations available for purchase that handle DALSA RAW natively. Codex is not the usual method for finish rendering of the DALSA RAW to 4K RGB, but it is a very common method for rendering HD (or lower res) proxies. There is also a nice mix of larger and smaller "DALSA compliant" post facilities doing business now. If you planning to work with a company that isn't already handling DALSA RAW files, I can help get any professional shop up to speed. While DALSA is not in the software business, if you are shooting with DALSA cameras, and want to integrate DALSA's rendering software (Bayer2RGB) into your workflow, I can provide your people with the latest version of our software. Interesting to note, I also saw a "magic box" in our office today, this box was hooked up directly to a camera and rendering our 4K files to RGB and playing them LIVE (as in less than a 1-frame delay) to a 4K monitor. It was extremely impressive. Unless I'm mistaken, the reason it was here is because it's on it's way to Cine Gear this weekend. Hope this helps, I. Illya Friedman DALSA Digital Cinema Division Woodland Hills, CA www.dalsa.com/dc Visit us at CINE GEAR EXPO this FRIDAY and SATURDAY (6/20 & 6/21)

Hello all, I just happened to find this picture on the "broadcast buyer" website. It's from the set of James Bond. Each Codex recorder in this picture is connected to a DALSA camera. I. Illya Friedman DALSA Digital Cinema Division Woodland Hills, CA www.dalsa.com/dc Visit us at CINE GEAR EXPO this FRIDAY and SATURDAY (6/20 & 6/21)

This is just the press release from the momentous event this on Monday night. The 4K in 4K at the Landmark was as perfect a projected image as I've ever seen. Amazing. I can't wait till more people get the chance to see DALSA images projected like this! I. ---------------------------------------------------------- http://www.foxbusiness.com/story/markets/i...gth/-2129973757 LOS ANGELES, CALIFORNIA, May 05, 2008 (MARKET WIRE via COMTEX News Network) ----DALSA Corporation (TSX: DSA) - "Reach for Me," the first feature-length motion picture to be shot and produced entirely in 4K, will be screened tonight on Sony's 4K Digital Cinema Projection Systems. Directed by Levar Burton and produced by AMediaVision Productions, the movie was captured using DALSA's Origin 4K cinematography camera, with 4K image processing and digital intermediate (DI) managed by Post Logic. The screening will be held at Landmark Theatre's flagship theatre, The Landmark, in Los Angeles' Westside Pavilion. "Reach for Me" is a heartwarming story about life's challenges and how love, compassion and humor can bridge the difficult passages facing two friends who are generations apart. "This screening is a perfect example of the practical reality that 4K technology has become," said Andrew Stucker, director industry relations for Sony Electronics' digital cinema division. "From end to end, movie-goers will be able to immerse themselves in the incredible experience that 4K resolution can provide." The picture's producer, Mark Wolfe commented that "having a complete end to end 4K workflow gave us all the creative and time advantages of digital moviemaking all the while maintaining the beautifully rich look of traditional film production, without adding any additional cost to the production process." Sony's SRX-R220 digital cinema projection system, capable of outputting 18,000 lumens and 8 million pixels or resolution, will be used for the screening. According to Rob Hummel, President of DALSA Digital Cinema, the production of "Reach for Me," clearly demonstrates that 4K technology is the future of digital cinema. "4K projection technology empowers the digital cinema pipeline to display images equal to the most pristine film answer print," he said, "so whether the image is a 4K scanned 35mm film, or photographed with a DALSA camera, 4K projection ensures the audience will see an image without compromise, and that every seat in the house gets a spectacular picture." DALSA's Origin 4K cinematography camera with a CODEX digital disk recorder was used during production and all data was archived to LTO 3 tape. Post Logic used a Baselight 8 system during the digital intermediate process. "Having assembled a top talent and engineering team, Post Logic is well equipped to handle the increased bandwidth and file processing demands of a 4K DI," said Larry Birstock at Post Logic. "A true end-to-end 4K workflow is now a viable alternative for movie makers." "Reach for Me" is produced by Charlene Blaine-Schulenburg, Susan R. Rodgers and Mark Wolfe. The movie stars Oscar nominees Seymour Cassel and Alfre Woodard, as well as Johnny Whitworth (3:10 to Yuma), Lacey Chabert (Mean Girls, Party of Five) and Adrienne Barbeau (The Fog, Escape from New York). The worldwide rights for "Reach for Me" are currently available.

Hello all, There's a nice little video here of the S.Two booth from NAB. Steve Roach does a quick overview of the technology and some of the workflow features. In some of the shots you can glimpse the DALSA Origin II and the (soon to be arriving) Evolution cameras. http://www.digitalcinemasociety.com/media/stwoh.mov I'll be able to post information about a project using our cameras and the S.Two system shortly. I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc

Hello all, If you are making the trip to NAB 2008 and looking for the DALSA booth, you won't find it. Like Apple and Avid we won't be exhibiting. However, you can still find DALSA equipment and/or images in several places on the show floor. Most notably you'll find a fully functional Origin II as well as a mock-up display of the forthcoming Evolution camera in the S.Two booth (SL9208). Prototypes of Evolution are due to arrive next month in Los Angeles. Visiting the S.Two booth you'll get to see several cool things, including an image captured with the Origin II/S.Two DFR4K and recorded out to IMAX (15-perf 65mm)!! It truly stunning. You'll also get to see the new color combination of the Evolution camera (much improved in my opinion), and of course all the cool new tools from S.Two. I don't know all the places that our images can be seen (there are many), but in addition to S.Two they will definitely be at Iridas, Cineform, DVS, Sony's 4K theater, and during a panel discussion at the Digital Cinema Summit. I have a limited amount of time during NAB for meetings. However, if you would like to meet me at the show please contact the LA office. I. Illya Friedman DALSA Digital Cinema Division www.dalsa.com/dc