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Elhanan Matos

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Everything posted by Elhanan Matos

  1. Sounds like DCC to me as well, but if you had a remote paint box like an RMB-150 or 750 plugged in the auto-iris button could have been on.
  2. HD can do slow motion, and can also do underwater shots quite well. The F900 (through field doubling) the Varicam, the Sony 1500, the new sony cinealta camera which I'm not sure if it has a name yet can all do 60fps, the Genesis can do 50fps. Then there are the high speed HD cameras; The Cine speed cam, the photosonics Phantoms, and the Wescam, which can each shoot up to 1,000fps in HD. As for underwater, have you ever heard of "Ghosts of the Abyss?" Vince Pace and James Cameron have been doing underwater HD for years now! Also the movie "The Cave" which was mostly shot on film used F950's in underwater housings for all of their underwater sequences.
  3. Elhanan Matos

    F900r

    You can try and look at the operation manual for the original F900, most of the menu items are the same but in a different order. You can find the manual somewhere on the Library section of this site.
  4. The flicker you see in tungsten units at high speeds is introduced by AC power, because the power is not continous the light bulb is flashing on and off 60 or 50 times per second (50/60Hz), because the filament is losing power cooling down and then regains its power back and turns back on and repeats this 60 times in one second. Now the larger the fillament the longer it takes it to come back down, from all the tests that I have done I have come to the conclusion that 5K's, 10K's, and 20K's are your only choice of lights when using AC power, if you can get DC power then any tungsten light will work just fine. With HMI's (NO MATTER THE SIZE), the flicker that you see is Arc wander... meaning that you see the change in brightness from the arc in the globe moving around, this can be overcome by diffusing the light and moving it farther away from the subjects, the larger lights are easier to use because you can move them farther away from the subject and still have enough light to get an image.
  5. I hope they were insured.
  6. I'll be there all week at the Innovision Optics booth (right by RED)
  7. I'll second that yawn... I think we are all sick of hearing comments like Filips made here on this site and elsewhere.
  8. Elhanan Matos

    HDCAM

    I think the 1280x1080 number comes from the way that DVCPRO HD stores ALL of it's 1080i material to save on bandwith and storage, just like they only record 960x720 when recording 720p, and just like Sony's HDCAM format records 1440x1080 for all 1080p. What you must be doing if you are actually getting back material with a 1280x1080 resolution is using a pixel aspect ratio of something like 1.5 to bring the image back to a 16x9 aspect ratio.
  9. The F900 has a native 16:9 imager (that's the same as 1.78:1). If you wish to shoot in any other aspect ratio you would have to either crop the image in post, or use some kind of optical device to squeeze your image. Canon makes an anamorphic adapter that will squeeze the image so that it can then be stretched back out to 2.35:1. If you do plan on going the optical route then you have to make sure that the F900 you are working with has the Inversion board installed.
  10. I'm going to assume that your assumption is correct and something is infact wrong with the green CCD. I've never tried it, but I guess you can lower the voltage going into the CCD, but I wouldn't recommend doing that, since you would only have a red and blue ccd and your picture would be extremely noisy, dark and missing a green channel, what I would recommend you do is send the camera back to either a rental house or to any company that can repair it. If you can't do either of those, then I'm sorry to say it, but youre poop out of luck.
  11. "I know most video cameras have a nasty habit of halving the resolution and going interlaced the minute you want to record something else than 25fps." I'm DIT'ing a pilot right now, we have two F900's, and will be using an F900 for our slow motion. What I am doing is setting the camera to record at 60i (59.94) and then in post we will be using a Teranex and a Smoke to convert that 60i to 60p.
  12. I just worked on a commercial with a group of french cameramen, they brought over a ton of equipment from europe, including two highspeed cameras and a few sets of lenses. At one point we put on a 14mm Elite lens, this was the first time I have heard about this lens and I wanted to test it out, but I can't seem to find anyone who rents them out in the united states. Has anybody else worked with these lenses?
  13. See if you can get a hold of a demo of Discreet Combustion 4.
  14. I heard Click was also shot on the Genesis. You can download the 1080P trailer of Click on apple.com.
  15. I've been doing a similiar thing, I have a Hasselblad 500C that I bought online for about $1,000, then combine that with my $200 scanner I get huge 3K x 3K 48 bit pictures that are absolutely gorgeous!
  16. Keith, I couldn't agree with you more. It's very hard to judge focus with either the Sony or the Accuscene, at least without using the magnify feature, or using the peaking.
  17. I attached a couple pictures of the camera that I took with my phone. I tried my best to remember what every output and button did and labeled them. I took better pictures with my still camera, but I need to get the film developed. Hopefully I'll get to work with the camera again soon and get to test it thoroughly.
  18. Keith, The viewfinders you can use for the Genesis are the same viewfinders you can put on an F900 and F950. On our shoot we used the Sony Color Viewfinder (HDVF-C30W). What was very interesting to find out was that with the 35mm depth of field it was nearly impossible to focus with that viewfinder without using the magnify feature. It would have been much easier with the accuscene (panavision rents out the Accuscene as well). One neat feature the camera does have is two viewfinder outputs, as well as a monitor output. We didn't use two viewfinders so I'm not sure if they both work at the same time, but in the VF page in the menu there are settings for a VF1 VF2 and Monitor, so you can send out different frame lines to each of those.
  19. It's pretty heavy for a video camera... but i'll try and weight it tomorrow.
  20. Earlier today I got a call from a friend of mine, asking me if I wanted to come by on a spec shoot he's shooting on the Genesis. Since I was already working all day today I couldn't make it out to the prep and really get to mess around with the camera over at panavision, but I did make it out to the last three hours of the shoot in downtown LA where we shot under some mercury vapor street lights. It was all very interesting stuff and I'll try and get some stills from my friend when he goes to edit it. Well tomorrow were going to be on a stage all day so i'll have some time to really study the camera inbetween shots. So if any body has any questions about the camera and they get them posted here sometime before 12:00 PM Pacific Time on Wednesday Feb. 8 I will do my best to get them answered while I'm on set.
  21. You should do a search on each of those cameras on this site, and see what other people have said before. We see new posts like these at least once a week.
  22. Did anybody else feel like it was watching C-SPAN in a narrative form?
  23. I think 350 frames per second is the fastest you can get with the photosonics pin registered 35mm camera. Also with the rotating prism cameras you are limited to a 72 degree shutter.
  24. I'll second that. Give plus 8 digital a call; ask for John Fishburn, he should be able to help you out.
  25. I only heard about four or five lines of hebrew spoken in the movie... and two of those lines were subtitled the rest werent. Then there was alot of french, italian and german that was subtitled.
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