Elhanan Matos

The genesis does record 50 minutes but only in 4:2:2, if your recording in 4:4:4 it's 25 minutes (the tape is moving twice as fast).

Try setting the Z1 to 50i and then set it to cineframe 25, that seems to look alot better.

Try Plus 8 Digital 517 West 35th Street New York, NY 10001 (212)947-9797

And we wouldn't have it any other way! ;) I think that all depends on where in LA you plan on living in. I live in Woodland Hills, the very edge of the San Fernando Valley, and right on the border of Los Angeles County, and I think it's the last thing from wasteland. And if you're trying to get away from shallow people your in the wrong industry.

The 818 area code is the san fernando valley... Burbank, North Hollywood, Van Nuys, Woodland Hills, etc... All cities within Los Angeles County. What kind of recommendations are you looking for?

I think cineRAM is gone, from what I heard the company went out of business. It would be easier to use the Sony SRW-1 with the Viper.

A mac is not for highly specialized software. That is what an SGI is for. And Final Cut Pro is not specialized software, its a consumer editing program, and so is Premiere, and Avid Xpress. FCP is not something that a "Professional" should be using. As for CG software, I don't know of any CG software that is made specifically for the Mac. And when I took a tour at ILM i didn't see any mac's. I have never seen anyone using FCP at any Post house that I have been to, most places use the Avid Nitris, or they will use Discreet Fire, which runs on SGI's, or Quantel IQ's and EQ's. What I don't like about a Mac is the limited amount of Hardware. Say I buy a Mac now, and a year or two from now, they come out with a new processor, and I want to switch to that processor, can I keep all my old hardware and just buy the processor? Or do I have to shell out another $5,000.00 for a whole new computer? With a PC I can just go out and buy a new processor, and if my old motherboard doesnt support it then I can go out and buy a new motherboard too and keep all my old components. I paid about $1,000 for my computer, and if I suddenly needed to switch over to a dual processor machine, all I need to do is go out and buy a new motherboard and one more processor, which would only cost me another $800 or so.

Windows XP and 2000 are completely different operating systems from windows 95, 98, and ME. It's a completely different kernel. OSX isn't really a complete rewrite either though, it's like a frankenstein operating system with code taken from all sorts of Unix based operating systems (Unix, Linux, BSD). You can read about it here... http://www.kernelthread.com/mac/osx/arch.html Mac's are neat computers, but can any mac user name one thing they can do on their mac that I can't do on a PC, faster, cheaper, and better?

I just bought a Hasselblad, and I'm considering getting a 70mm film back for it. Does kodak still sell 70mm reversal?

Every art form is selfish in a way. It's always about expressing yourself, your views, your feelings, etc... And there is nothing wrong with that.

Well you load the film into the mag in complete darkness, it's not hard after some practice.

I can only think of two downconverters right now, the Evertz and the Miranda. The Miranda gives you the most options (HD-SDI, SD-SDI, composite, component, Firewire), the Evertz F9 2410 only has HD-SDI and SD-SDI. The Evertz F9 2410 (IN MY OPINION) is a lot simpler and stabler than the Miranda.

That would be Plus 8 Digital in Burbank.

Landon have you ever had to carry a 24" BVMD monitor?

If I were you I would finish the project on the PD-100, the festival will not care about that 10% of your project thats shot in HD, what they really want is good content. In my opinion you'll be wasting your money finishing your project in HD. Another bad idea would be upconverting your footage to HD resolution. Finish your project in DV and do the best job that you can do to get it done right.

There are plenty of reasons to shoot in 4:2:2 over 4:4:4; the F950 (or even the F900) when recording onto an SR tape records 10bits instead of HDCAMS 8bits, you get 12 channels of audio, you can record in stereo mode when you record 4:2:2 onto SR (stereo as in two cameras on one tape, not left and right audio) And recording 4:2:2 lets you record for 50 minutes on each tape, 4:4:4 is about 25 minutes (this is because when your recording 4:4:4 the tape is moving twice as fast). Another reason is that the SR format doesn't compress it's 4:2:2 as much as HDCAM does. But whether it's 4:4:4 or 4:2:2 it's always going to be compressed, but SR isn't as compressed as HDCAM, I think SR is a 2:1 compression and HDCAM is a 5:1 compression, I'm not sure about those numbers so dont quote me on them, and please correct me if you know what the numbers are. This is all assuming that you are shooting with an SR deck with the F950.

I read about a solar flare occuring recently, that might be your problem. That was taken from spaceweather.com Heres a picture of the culprit. Didn't you know you needed a degree in Astronomy to work with HD cameras?

The question you want to ask yourself is, how long do i want each take to last? For something like this you do not need to be shooting at a very high speed. The best thing to do is take a stop watch and time the movement, if the movement takes two seconds to occur and you want it to take six seconds played back then you will need to be shooting three times faster than 24fps, so you would need to shoot at 72fps. If the action is a quick kick then it probably occurs in a half or a quarter of a second, and to stretch a half a second out to something like ten seconds you would need to shoot at 480 frames per second! I doubt you will need to shoot faster than 150 frames per second, and if you are shooting on 35mm film I highly recommend you shoot with an Arri 435. Something that you have to take into consideration when shooting slow motion is how much film your using. A 1,000 foot mag will give you about a minute and a half of real time and 11 minutes played back. When you get into frame rates above 150fps and you are shooting film, things start to get a little bit more complicated, and when you start to shoot at framerates above 350fps with film it starts to get VERY complicated and EXTREMELY expensive. There are other options out there though, you could shoot with a high speed digital camera. The company I work for sells a high speed digital camera called the Cine Speedcam that shoots from 10fps to 1,000fps in HD and up to 4,000fps in SD, and for a limited time we are also renting them out. The best thing for you to do is test and research.

Final Cut can't edit 24P??

I thought the movie was pretty good. The story was pretty good, and it had some really funny moments. And it starred Scarlett Johanson!!!

Nope, never tried it.

Kyle, What kind of camera are you using?

Thats where we held our tests. Was it for Miami or Vegas?

I'm assuming they wanted to film in the US for the locations.

I just finished working on a BBC documentary about Frank Sinatra today. All the shots I worked on were all slow motion, all shot at around 700 frames per second, but today we did have a Varicam on set and we shot a scene in a barber shop in Crenshaw (not a fun thing to do, walking around Crenshaw with a $170,000.00 camera!). Some of the scenes we shot looked amazing! The DP did all of his color correction in camera, and they used a clear filter and painted vasiline on it on the places they wanted diffused in the frame. I don't know the full name of the Doc, but its about Sinatra and it will air sometime in April, on BBC and on A&E here in the US.