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Elhanan Matos

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About Elhanan Matos

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  • Birthday March 15

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  • Occupation
    Digital Image Technician
  • Location
    Santa Monica, CA

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  1. I believe an S.two OB-1 or a codex onboard recorder with a couple mags usually rents for the same price as the camera, but then you also need to get a download station, the codex being very expensive, and the S.Two a little cheaper. You also need to factor in the cost of hard drive space, I believe uncompressed raw recording over T-link is about 750GB per hour. I'm in the process of planning a test to see if shooting uncompressed is really advantageous over pro res. I'm guessing that for most things it won't be, and for VFX heavy shots it will be.
  2. Sounds like your hand unit rolled while you were changing lenses...
  3. If you're using a mac I would highly recommend you learn how to use the terminal; Using just a plain old mac with osx (or PC with linux) you can copy safely and quickly using Rsync then create an MD5 checksum and compare it using diff. Sounds a little daunting, but if you're serious about data managing, then you better learn it.
  4. Elhanan Matos


    I just got home from working on a commercial our "A" Camera is a Genesis, but today we brought in an EX1 as a "B" camera. We shot with the camera tethered to an SRW deck, so that we can record 10 bit 4:2:2 (At least I was told it was 10 bit, I had no time to test it and I had no idea we were even going to shoot with the camera until late last night). Everything worked great, and the camera is very easy to work with, if you've ever worked with any other CineAlta camera then you'll be pretty familiar with the menus nomenclature. I was able to match it to our Genesis in minutes (it wasn't a perfect match, but pretty damn close). I wouldn't say the camera is perfect though, recording to a $85,000 deck gets you a great picture, but when recording to the built in SxS cards the compression is noticeable, although still amazing for 35mb/s and $6500! I was so impressed I'm considering buying one myself.
  5. The 17 inch panasonic is a great directors monitor, I would never rely on it for lighting unless I'm working with a camera that has a lot of dynamic range, like the F23, Genesis or Phantom. I'm planning on buying one myself because it's really cheap (sorry Adamo 2,600 is very cheap compared to 26,000) and rents for a decent amount of money. The new Sony BVM LCD is great, the CineTal is a fantastic monitor, and the new E-Cinema monitors might be worth checking out.
  6. If your DP and Director don't mind having more depth of field then the F23 is the only tape based camera I would shoot with. If they would like to have 35mm depth of field then the Genesis is the current choice. If they are willing to shoot on a hard disk system then the Origin is probably on the top of the list, although it should be noted that the camera would only work comfortably in studio mode.
  7. David Deahl... www.bigdeahl.com the guy works non-stop.
  8. I just bought a 2007 Audi A6 last September and I love it unfortunately I've been 1,500 miles away from it for over a month now and I'm having some kind of German car withdraw. I'll also recommend everyone out there to stay away from Nissan Altimas.
  9. Elhanan Matos

    Epic 5k

    Sorry I don't think rational conversations are possible in these forums. Yes film will probably eventually become obsolete, but RED will have nothing to do with it, and it definitely won't be as soon as you expect it to be.
  10. The Santa Fe workshops are probably the best (and only) workshops you should take if you are serious about taking a workshop. It's the best place to learn about everything HD if you need to learn fast (within 1 week) although if you have access to the cameras and you are willing to put in a lot of time with the cameras and a lot of time studying everything about them and HD online, then you can save yourself the $5,000 (not sure if that's still the price, but thats what it was three years ago). I have been to a few of the Santa Fe workshops myself, but as a volunteer most of the time and once as a presenter with the Cine-Speedcam. And I learned alot from just sitting in on a few of the presentations. If you do decide to go make sure you participate, ask a lot of questions and get as much hands on experience as possible, it's the only way you'll commit everything you learn there to memory.
  11. I'll be shooting some tests tomorrow morning with the S-Log and the different color modes available, I'll try and see if our post dept. can digitize the tape for me later on and I'll be sure to share the results with everyone.
  12. Call a camera rental house in your area and ask if you can come in and shoot some tests on a "Cine Alta." Otherwise you'll be spending more money on the training seminar for two than an actual camera rental.
  13. John, I understand exactly what you are saying and agree 100%. I wasn't aware that programs like photoshop did any processing to the image when you zoom in to 100%, if it does are you aware of any program that can?
  14. Zooming in is just fine, as long as you don't zoom in past 100%. And your 46" television (not broadcast monitor) is not really the best tool for the job either.
  15. This seems to be common with a few other CMOS cameras. They really are a pain to work with sometimes because the only way to get a decent image out of them is to gel the lights and get the color right otherwise when you're shooting with tungsten lights and you try to correct in post you start to pull too much red out and add too much blue and your image gets very noisy and contrasty. This is a problem I run into with several High Speed CMOS cameras, it can be fixed but you just need alot more light... umm almost 5 times more light to be exact (because of the CC gels).
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