Elhanan Matos

Good job! :lol:

Hey Kevin, How many posts do you have?

yeah... something like that... <_<

What kind of lens projector did they use for their test. I've done side by side tests with quite possibly every canon, fuji, and zeiss lens (except for the new long zoom) on a lens projector as well as a camera and have found that the zeiss digiprimes were superior in almost every aspect, especially even field illumination, chromatic abberations, and barrel distortion. But I might have a bit of a bias since I did work for BandPro while doing those tests, but Mitch you might have a bit of a bias as well since you do work for abel, so does that nullify our posts? ;)

You can also use the SRW1 deck with the F900 and record 1920 x 1080 4:2:2 10 bit as opposed to 1440 x 1080 3:1:1 8 bit.

Right. That is achievable as long as the subject in the frame isn't moving across the screen too fast. I've pulled off 2,000 fps just by playing back 1,000 fps material at 1/2 speed. No need for any special software since there wasn't any motion blur to begin with.

Thats what I thought until I saw the Superbowl 3d trailer a few years ago at an imax, I dont know if it was ever released to the public, but it was amazing, it was a completely different experience, definitely not a gimmick. Also from what I heard they shot the NBA all star game in 3d this year.

Yep, we had the camera in a car and were hand held with it and every once in a while if the car drove over a bump we got a big purple flash, this was over a year ago. Although a friend of mine was working with the camera about four months ago and had big issues with getting dropouts every time the camera car drove over some big bumps. From what I have heard this was a problem with the mechanism connecting the camera to the recorder, I also heard that they took care of this problem though.

The system that was developed for Cameron, is the Advantage camera made by Vince Pace in Burbank, CA. It's a fantastic system that lets you adjust the convergence of the lenses just as you would focus, this is what gets rid of that headache you get after watching a 3d movie for more than 5 minutes. If you are absolutely serious about shooting a 3d movie I believe that is the only system to look at. The system is made up of two heavily modified F950 T-adapters side by side. You can get it by calling Pace technologies at 818 759 7322.

Kinda tough to put an exact number on it, but judging from the speed the water is falling through the faucet I would say between 500-1000 fps. Although its also very possible that it could around 360fps... definitely not a post effect.

Just about every job that I have worked on in the past 6 months has been out of Panavision, one of them a TV show for roughly 4 months. We used the Primo zooms, the 6-27 and the 8 - 72. I have noticed that the 6 - 27 is the sharper of the two, but my biggest problem with them is that the majority of the lenses don't match in color, so if you will be renting from panavision make sure you do side by sides with the lenses if you are getting more than one lens. I would say that I do have a fairly large bias towards Zeiss lenses. I used to work for the company responsible for the Zeiss Digiprimes, and have worked with them many many times. Now that I have said that, I do think that the Zeiss Digiprimes are probably the best lenses you can put on a camera with a B4 mount. Also there are the two zooms, the 6 - 24 and the 17 - 112, which are both gorgeous lenses. There are also the Fuji E series lenses, which are also superb lenses, I would also say they are better lenses than the Digital Primos from Panavision.

The F900 can store 255 dead pixels per channel, so 255 red, 255 blue, and 255 green. If the automatic pixel restoration doesnt work (APR through the black balance) you can try to turn the pixel off manually, which isn't really that easy, I would recommend taking it into service. Which they would probably quote you 2 hours of work at about 125 an hour (I'ts been almost three years since I've worked in service so don't quote me on that). Sometimes they will get it done faster, but 2 hours is the average amount of time it can take.

I would suggest recording to the SRW-5500. With that you can record to SR which like John said, is 1920x1080 4:2:2 10 bit. Big difference from HD Cam. Also you have the option of using 12 tracks of Audio which is a plus in a studio environment. Also don't forget that with the option cards you can use your 5500 to play back HD cam SR, HD cam, and Digibeta.

I don't think anything Canon makes can be considered "the best." If you're looking for the best it's the Digiprimes and Digizooms. If your looking for more affordable then Fuji. Either way you're looking at spending a lot of money, might as well do it right.

The Santa Fe HD workshop is great, and they have one for DIT's and one for DP's. It's a great course, it's about 5 days and about $5,000. I think.

I really like the Weisscam, I saw it at NAB last year, but I havent seen any available in the United States.

The 1500 is great for travel. I've taken larger but it's always an issue. If you have a camera in there and you can prove to them that its very delicate, and you don't mind waiting extra long in security while they check it all by hand and put everything through the chemical sniffer then you might be able to get away with the 1550 (I think thats the model)

From what I have heard from a few people that worked on the show is that they light every scene before the "actors" get there and they usually tell them where to go to have their "fights" and such so that it looks decent. And yes it is shot on the SDX.

You should just go over there and ask them... Theyre right up there on Ventura and Hayvenhurst (approximately). Thats pretty close to Encino.

Hmm... how's the weather in Hawaii right now?

Yes the Phantom does look more sensitive, but the picture is FAR noisier, the cinespeed has almost no noise, the picture is incredibly clean whereas the Phantom looks more like a video image with about +3 or +6 db of gain, don't quote me on the numbers, I'm just estimating from what I can see from still frames. There's also some kind of weird pattern of black pixels all over the whole image if you take a really close look at a still frame. Each camera has it's own up and downs. I think if resolution is the most important thing you need then the Phantom HD might be the choice. But If you are more concerned about color then the Cinespeed is better.

It is a neat camera, which has it's faults, just like they all do. I spent about two years working with High Speed HD cameras, and I've probably seen all the different models out there. It all depends on what you're planning to do with it. The reasons not to use it for your application are, the extremely low dynamic range, don't listen to what they say on the website, you're going to want to test the camera out yourself, I've found that these cameras all usually have around 4 maybe 5 stops of lattitude. So using this camera around snow might be very tough. Color on these cameras arent usually great either, take a look at the the Tiff on that page and look at the greens, I'm not a botanist, but I'm pretty sure those leaves shouldn't be that pale. Finally all the slow motion cameras have to be tethered right now, so don't expect to be able to be able to run around all over the place with this unless you can carry the laptop its connected to with it. Now the reason to use it... it's cheap. It'll cost you probably around 1500 to 2000 dollars a day to rent this including the technician who comes with it... and thats it, you wont be going through thousands of dollars in a matter of seconds like you would have to with 35mm, assuming you are shooting at frame rates around 1,000 fps. My suggestion would be to shoot 16mm for this. It would be a smaller camera system, no tether, you can shoot longer, and it looks better! and it would probably cost just as much if not a little bit more.

I've been really interested in fully testing the new F900R, I got to play with it at one of Sony's open houses and it kinda seemed like they made it more ENG-like, adding that turbo gain button and giving it the same menu structure as the 700's... I really hate that menu structure... and as for the digiprimes... I miss them so much... I've been on a TV show with Panavision lenses, which are good, but they don't really come close to the digiprimes.

I think there was a step left out from those instructions on loading user gamma tables... before you go to the paint menu go to the FILE menu and find the page that lets you load the gamma tables off the memory card and into the camera... Then when you go into the gamma table page in the PAINT menu and select user it should say the title of the gamma table being loaded, not just a number.

I believe the camera only uses about 12 volts, but to be able to use 24 volt accessories (which most if not all PV accessories are) you have to be sending it 24V.