Elhanan Matos

Well, if you want to edit HD, and you were considering selling off some property (and your soul ;) ) to get a mac, then you should take a look at some of the beefier PC laptops out there. Check out Alienware and VOODOO PC's. I will guarantee you, you will not find a Mac (laptop or desktop) that can come close to some of their systems.

I don't worry either, when you use any of the Mozilla products you don't have to worry. I also don't have to get a second mortgage to buy a piece of hardware that I won't be able to upgrade... but hey... you do get those little bouncy icons. I'll just leave it with this... when you go to the computer store to buy software how many different choices do you have?

Kai, Every lens will have some color fringing. I will guarantee you if you take any other lens and put it on that same camera in the same situation, you will have the same, but most likely worse color fringing. If you want to test the performance of a lens put it on a lens projector that way you can actually measure how much color fringing you will have. I've spent countless hours projecting the Digiprimes, the Canon Primes, and the Fuji E Primes. There is a big difference between the three, the most prominant being resolution.

Phil, The viper in Film Stream mode is both "pretty" and quick to work with.

I'm going to try to hold back on the whole Mac VS. PC thing for right now, It's my absolute favorite argument to get into. I just want to settle this whole Virus thing. If you're using windows XP SP2 all you have to do is turn on the auto update feature, turn on the windows firewall (having a hardware firewall is a good thing too) then don't download any attachments from anyone unless you are expecting something from someone, don't use Microsoft Outlook, Use Mozilla Thunderbird, Don't use Internet Explorer, Use Mozilla Firefox (www.getfirefox.com), and finally be smart about what websites you go to and what you download (ie only go to trusted porn sites). And about windows crashing... It's a thing of the past. I have been running Windows XP on my current computer for about one year now and It hasn't crashed once yet.

My suggestion would be to go work at a rental house, there are tons of them all over LA. You'll be able to make a living (not a great one though) and you'll be able to meet alot of people who are working.

I know the monitor is fine because we had two and they both matched perfectly. The vignetting was so apparent that it showed up on our shitty onboard monitor. I wouldn't be able to tell if it was the lens or the optical block though, I didn't really get a proper prep for this show, the rental house is Wexler Video and is a great place to get a camera for run and gun ENG work, but isn't really that great for anything else.

Not so practical when you find out that the post house only carries the studio decks and can't play back your material. It's only practical to shoot in HQ mode if you plan on renting it out during post as well.

Phil, I have to admit I didn't do any lens shading myself for this shoot, for two reasons, the rental house didn't provide me with the proper environment to do this and the lens files were already there for the two lenses I was using. Mike, You're absolutely right about everything you said. For the past year or so I have been working exclusively with the Zeiss Digiprimes, mainly because I had access to three sets of primes and the Digizoom for months before it was released, so it's only natural for me to use those lenses as a reference. I'll try to get a few stills of some of the wider shots with the vignetting and color fringing. If you're saying these lenses aren't that bad then my guess is this particular lens has some major problems with it.

" The Canons are decent, but not great if you're going to be projecting your movie" I take back everything I said about the Canon cine style lenses... I just got through a week as the First AC and DIT on a short film shooting on the F900 with two Canon zooms, the HJ11x4.7 and the HJ21x7.5, and from now on I will do my best to AVOID these lenses as much as I can! They're atrocious lenses... every single aspect of the lenses were terrible, barrel distortion occured all the way up to about 15mm (thats equivalent to a 40mm in 35), they vignetted at every focal length, color fringing was so bad on the wider side of the lense I was able to notice it on our 9" monitor, they were soft on all the edges, we lost about a stop at the longer focal lengths (about 30mm-52mm on the HJ11x4.7), and finally the back focus ring is the exact same ring that's on the ENG lenses, turning the ring 1/1000th of a nanometer will throw your back focus completely out, making it very time consuming to set your backfocus. Sorry about the rant, but i've never been so frustrated with a lens before. We're going on a four day break before we finish up next week, and I'm going to make sure to switch those lenses out for some Fuji's during the next prep (unfortunately the rental house doesn't carry Digiprimes).

I think the F950 takes up 40 watts, the SR-1 60 watts, and the SRPC is 35 watts... so yeah thats a lot of power, the Genesis should be around the same.

The HDV as well as the HD footage shot for Jag was shot by Jodi Eldred, we transfered all the HDV footage to HDCAM using an F500 deck, so the final tape was an HDCAM tape. The best way to find out what it's shot on is to find out what production company shoots the show and give them a call.

The only lenses you should really avoid are the Angenieux HD lenses. The Canons are decent, but not great if you're going to be projecting your movie, the Fuji lenses would be my second choice. I think you'll find the Digiprimes to be great lenses. Make sure to check out the 3.9mm and our Digizoom.

If you take a look at the operations manual there should be a small chapter about maintenance. But every once in a while it is good to take your camera somewhere for general maintenance.

Theres some great information on Schneider's website about color temperature of natural light sources. They say the moon is about 4000 K. My guess would have been 6300 K too, but I guess because the light is being reflected it loses some color temp. http://www.schneider-kreuznach.com/knowhow...tqeuellen_e.htm

I was really surprised when I saw this movie. It was a very "fun" movie to watch. Just remember to take it for what it is, don't go in expecting a Fellini...

The shot with the batter hitting the ball looks to be about 360fps (this is the fastest you can shoot with a pin registered camera), the rest looks to be about 150fps.

The dollar being less than the Euro, is a bad thing, but it can also be a good thing. There are more and more people buying american goods because they are cheaper now.

If you're looking for cheaper HD rentals you might want to check out a rental house like Wexler Video, or Bexel. They have all the different flavors of HD.

Those prices sound right for lemo connectors. The only way to get a discount on those connectors is to either buy it in bulk or find someone else who stocks them and is willing to give you a break on them. You should just be happy youre not dealing with the Fisher 105's for the 24v in on those cameras. I think I paid $170 for one connector from Arri in Burbank.

You will most likely have to get into the Matrix if you want to do anything to your colors, you can desaturate the image without the matrix, but you have more control when you do go through the matrix because you can set how much you want to desaturate each color. The best thing to do would be to sit down with a DIT in a controlled environment, some color charts, and a model, and slowly adjust each variable until you have what you want. I find this to be the best thing to do before every shoot.

By color profiles are you reffering to the Matrix settings?

What about "Miami Vice." They have a few vipers, a couple set of Digiprimes and some Digizooms as well, all from Plus 8.

Make sure you have i.link turned on. Go through your IN/OUT SET menu and make sure it's all right. If you follow all the instructions in the manual it should work just fine.

Next time you're in LA check out the Arclight, on Sunset and Vine (I think). It has to be the greatest theater in LA right now, and it's only two dollars more expensive than the AMC's around here.