Elhanan Matos

It looks like whoever shot it missed the focus by at least three feet... maybe he was just leaning in alot?

Check out 16x9inc they aren't cheap but they have great accessories for this camera, and they worked with the manufacturers on the accessories months before the camera was released to perfect everything for it. www.16x9inc.com

an electron beam gun vapor deposition machine... that sounds like a weapon out of a james bond movie... something that will destroy the moon or something. Sorry I had to... This sounds like a great camera, lets hope it doesnt go the way of the kinnetta.

I found this really annoying in the trailer as well... But i didn't know they were shooting film as well. It will be really interesting to see how he does decide to cut the film and HD together.

I'm the Cine Speedcam technician for the US, and will gladly answer any questions about the camera, and if anyone is going to be in Southern California on December 15 there will be some live demonstrations at Band Pros Open House at Innovisions Booth.

You left out Sharon Stone.

Looks great! I think the grading is fine as well... I just don't understand why it took so long to render?

Be really careful with this, some lenses are measured from the front element of the lens and some are marked for the imager... some (if not all) ENG style lenses are marked for the front element... while the Cine style lenses are marked for the imager (film plane).

The LCD part of the projector shouldn't give you any problems, but the bulb inside the projector might.

I know this is too late, but about a year ago I was working on a green screen shoot where the DP lit the whole cyc (one of the big ones over at Quixote) with 4K arri X-Lights about six or so up on the grid and then all he used on the talent was a couple Image 80's.

The only Arri lights I have ever seen on sets are the 650's and 1k's for tungsten lights and then the 1200 and 4k HMI's. I always see Mole lights for tungsten and LTM's for HMI's.

Clairmont Camera Panavision Sim Video Plus 8 Digital HD Cinema HD Studios LA Wexler Video Bexel AMP Filmworks Big Vision Alternative Rentals Keslow Camera Sorry about not leaving any numbers or websites, but a quick search on google will get you where you need to be.

I have had that problem with the Superspeeds too, and last sunday I was surprised to see that on the Ultra primes as well when opened to a 1.9, although it wasn't as bad. The digiprimes were designed to be used wide open so they do not have that problem. The digiprimes are about a 1.6 wide open with the exception of the 3.9mm and 5mm lenses. The Master Primes also do not have this problem.

There are plenty of advantages and disadvantages to color correcting in camera in the F900, the greatest being that you're working at a higher bit depth, I forget if it's 10 or 12 bits, as apposed to 8 bits in post. But anyways I would recommend to make a scene file with the look you want to have in post during your prep and shoot some tests. Then when you're on set you can pop in your scene file see what it looks like and then just go back to the normal scene file and record.

For feature films you would want to buy cine style lenses, Zeiss Digiprimes, or Fuji E series lenses.

Oh no! David you moved over to the dark side!

I was about to apply to SCAD myself a few years ago, but then the school changed ownership or something, I guess the president lost the school over a divorce or something, and a friend of mine in Savannah told me it wasn't what it used to be. But I guess it's not that bad if they have all that equipment lying around.

What are you planning on shooting? And what's your budget?

I've worked on a couple commercials where this was done too. I've also seen some FX guys do this on a couple green screen shoots.

Jim did you bother to look at the file size of that image? IT'S ONLY 70KB! I'm sorry to be so crass, but no poop theres going to be quantization errors.

I think that would be pretty pointless with all the new digital still camera backs out right now, like the 22mp Imacon, or the Leaf system. These cameras are used all the time on still photo shoots and they only retail for around $23,000.

You know if this was 1999 or 2000 and Nine inch Nails were on the Fragility tour then this would be totally excusable, but it's not, and "With Teeth" was terrible, so... anyways... Checking for pixels is pretty easy, all that you need to do is make sure you let the camera warm up for about thirty minutes or so, set the gain to 0db, shut off the lights and check for any lit pixels on 24 inch monitor, then set it to +3db and check again. Usually you wont see them come up until you get to about +6db and they are usually blue pixels that pop up first. Also make sure you check all this at 24p, they tend to light up more often at 24p rather than 60i. If you do find any then make sure the APR (automatic pixel restoration) is on (this is in the service menu), and then hit the auto black balance switch, MAKE SURE the lens cap is on or the iris is closed all the way down. If the APR is on you will notice the screen flash during the ABB. The APR will only scan for dead pixels one color at a time, and for some reason it doesnt seem to do it in any order, so if the pixel doesnt dissapear the first time do it about five more times. If the pixel doesn't go away after all the that then send the camera back, its no longer your problem (unless you own the camera).

No. It's a job.

No. You can't edit scene files from the F900 on a PC, but you can edit scene files from the Varicam on the PC.

Actually I didn't pay, I used to work for Band Pro Film & Digital, and they are the workshops main Sponsor, so in exchange for setting up some equipment I got a free ride through the whole workshop.