Elhanan Matos

1. A very long time. 2. A lot of money. The time it takes to do a shot all depends on how complicated the shot is, and how experienced the moco op is. I've only been around 2 moco rigs, one was over at Studio G in Burbank, they shoot alot of CSI's moco effects there, and we were doing some high speed tests with CSI Miami and Vegas, the moco shot took a few hours to set up, about three hours if I remember correctly, it might have been longer, it was a very complicated shot, which included setting off a mouse trap, rotating the mouse trap a full 180, lifting the camera up and tilting it, and all that had to take place in about one second, we were planning on shooting 1,000 fps. I believe we payed the moco operator about $500 and we never shot a thing. We ended up running out of time and not shooting with the moco rig. The second moco rig I have been around was up at Industrial Light and Magic on the set of Star Wars Episode 3, I was there mainly to check out the modifications they made to their F950s, but that moco rig was absolutely amazing, it was HUGE!!!

Someone shot a movie about Francis Bacon?!?! That has to be one twisted movie! David, do you know of any Dada inspired scenes in movies? It would be very interesting to see something inspired by someone like Marcel Duchamp.

That sounds very strange, I'll have to try that out for myself on monday.

Make sure you have Detail off, I think thats Page 7 in the paint menu.

Doing this in camera is very simple John. There are two ways to do it, one way, which is the simplest is to go to the Paint menu, and turn to page 5. This is your Saturation page, this is a feature that is only in the /3 cameras, There will be an option called "Saturation" first turn the feature on, then dial it down to -99 this will be completely black and white. The other way to do it, which is a bit harder, is by pulling each color out in the User and Multi matrix, but I wont get into that right now, If you need to know how to do that I'll write a small tutorial on how to do it when I have some more time.

What camera are you shooting with? And what part of Sony are you shooting this for? I personally like doing black and white in camera, the quality seems to be better when doing it in camera. It will also let you use your filters and let you see what they are doing to your image. PS... Sign your posts, you'll get more answers if you do.

That would be the MSU-750

My HD package usually consists of a stock F-900, because thats what I have at work, but I prefer to shoot with the Clairmont modified F-900, In my opinion it's the only rental house that has made any useful modifications to the F-900. Sooo on with the list.... F900/3 camera body Accuscene Viewfinder, or the HDVF-C30W sony color viewfinder Miranda DVC-800 downconverter Astro WM-3005 onboard monitor / with a Noga Arm Leader 5750 portable waveform, vectorscope, monitor Sony 24" HD monitor 5mm, 7mm, 10mm, 14mm, 20mm, 28mm, 40mm, 70mm Digiprimes. 6-24mm Digizoom. Sharpmax Back focus adjustment device RMB-750 paintbox (for single camera shoots) Sony AC-DN10 power supply At least 4 Anton Bauer Hytron 150 batteries Anton Bauer Quad Charger 4 IDX Endura 80 batteries (for anything handheld) IDX charger Clockit box This is sort of the bare minimum package that doesn't include a mattebox or any sticks and the such.

Jerry Simpson is an amazing Table top DP http://www.simpsonfilms.com/

Oh come on now.... "Showgirls" wasn't that bad... you know... if you muted the volume... and if your a huge "Saved by the bell" fan... :rolleyes:

If your planning on shooting at speeds higher than 150fps and you want to stay in HD then we sell and rent a high speed HD camera that will shoot up to 1,000 fps at HD resolution.

I have never tried it. But it should work, I don't see any reason why it wouldn't.

More than 1200 cameras

I've used both cameras the FX-1 and the Z-1, there are about 41 features to the Z-1 that were not included in the FX-1, the only ones really worth mentioning are the XLR inputs and most importantly the PAL or NTSC option. The camera is absolutely amazing for the price. If you don't mind shooting in 50i or 60i then the camera is perfect for you! And as long as you don't expect an F900 for $5,000 then I think you will definitely be happy with it.

Why do you need to downconvert your signal to view it on a waveform monitor?

We sell all sorts of lights, stands, scrims, flags, etc... at Band Pro. We sell Arri lights, LTM, Kino, K5600, etc... We are also Mathews Studio Equipment dealers. Band Pro Film & Digital (818) 841-9655 Just ask to speak to someone from Sales.

Ala Renoir? Le Moulin de la Galette

Hey how about this one guys? Santa Claus Conquers the Martians

"Barrelling" or "barrel distortion" is the term used when vertical or horizontal lines bend outward towards the edges of the screen.

Are you talking about professional video cameras or consumer cameras? Because if you're talking about auto exposure on a professional camera, just turn off the auto iris function on the lense, its the button right next to the zoom controls on most ENG lenses. All of the "Cine" lenses (Digiprimes, Fujiprimes, etc...) that I have used don't have an auto iris function.

I don't remember if I was using any ND on that or not.

heres an example of some clouds shot with the knee on.

I would HIGHLY recommend you shoot some tests with the Knee circuit, play around with different settings in the Knee point and slope and see which you like better, and then also try the DCC, and you'll probably want Knee Saturation OFF, It will make the fire in the explosion look very artificial, but test that too you might like it on. I've noticed whenever I'm shooting something like a cloudy sky I keep my knee circuit on and I always test to see if the DCC does a better job at it then my preset Knee point and slope. Sometimes for things like smoke and clouds the DCC does a great job. I would also try to overlight and use an ND filter instead of stopping down if you want less depth of field.

John, By any chance would you know what lenses they used on the HD and Film comparisons? Or how their HD camera was set up?

Is this the DVD that was given out at the last Cinegear?