Elhanan Matos

Movies have been pirated long before the "digital advantage." Most of the movies that get bootlegged are movies that are recorded with higher end video cameras (betacam or some of the more expensive DV cameras out there) from the projection booth in the theatre. Alot of the newer bootlegs are rips of the DVD, usually stolen from the DVD authoring house, or the facility pressing the DVD's. There was a great article in Wired magazine explaining this whole thing... Wired: The Shadow Internet

check out wooden nickel, www.woodennickellighting.com, every once in a while they will have a sale on gels and all sorts of other things. Sometimes you will get really lucky and you can get half of a roll for about $20.

I just got back from Laser Pacific in Hollywood froma color timing session, we watched the HVR-Z1U recorded in 50i and converted to 24 fps in lustre (I think, it was lustre) the motion and sharpness impressed everyone, the Director, DP, and even the employees from Laser Pacific were impressed. I should be seeing the film out tomorrow morning.

You can set the built in down converter to either do a squeeze, letter box, or crop. Go to the IN/OUT menu and select downconvert, the options should be there.

I don't see how modifying a camera to work with different lenses is corporate espionage, that's what Panavision does with all the equipment that they purchase. If Clairmont pulled the PV mount out and slapped CLAIRMONT or ARRI on it then thats something else, still not corporate espionage though.

It shouldn't be a problem changing the mount on the camera. We have a High speed HD camera (Cinespeed cam) that comes standard with a PL mount. One day we had a shoot for cadillac ( Cadillac -Mimic- ) The DP was Darius Wolski, everything except for our Cinespeed came out of panavision. During the prep at Panavision, Dan Sasaki came by and took a look at the camera and said that he can easily change the mount, it took about an hour or two for them to machine a new one for us, now we can easily change the mount whenever we want to. I don't see why you couldn't just take the Genesis over to another rental house, clairmont for example, and ask them to put a PL mount in place of the PV mount.

I would stay away from HMI's, and stick with the larger Tungsten units. If you have access to DC power then you can run any tunsten light without worrying about flicker.

I know a few AC's, DP's, Video engineers, etc... who have worked on porn, and they say it's just like any other job they have had to work on. But they haven't worked on any sleazy basement porn stuff, mostly Playboy and Vivid productions... Personally I would rather work on Porn than a 20 hour ultra low budget no food no water Indy film.

I'm not sure how many people here subscribe to the CML (Cinematography.net); This is a topic written by Sean Fairburn about the different practices of shooting High Definition. Enjoy...

James, Personally I prefer the DigiPrimes, theyre sharper, crisper, faster, and easier to use than the Pro-35. Obviously working for the worldwide exclusive distributor of the Digiprime lenses theres a bit of a bias, but you should test the lenses out for yourself. If youre in the LA area feel free to give me a call and come by to check out the Digiprimes and Digizoom, I also have a prototype 3.9mm right. You can reach me at (818) 841-9655.

I believe Innovision makes HD Snorkel lenses, it would probably be better to use a lense made for an HD camera instead of using some adapter.

Just a quick correction, H.264 is not from Apple. Everything you could ever want to know about H.264

The Goonies!!! The Sandlot Predator The Shawshank Redemption Fightclub and pretty much any Stanley Kubrik movie.

Before you connect the camera to your computer you have to turn on the I.Link feature in the IN/OUT menu. Theres a description on how to do this on page 96 of the manual.

I was wondering if anyone here went down to Telecasts booth and checked out Vince Paces new modified T-adapter for the F950? If you haven't seen it, it's a T-adapter that resembles an Arri 435. It uses a fiber connection between the camera body and optical head block. There's also a built in WIFI/Bluetooth Preston control system, so all you need are motors and cables. Other than that booth and Arri's booth I didn't get to venture too far away from our booth. Was there anything else anyone has seen thats especially interesting?

no.

John, Are you recording to hard drive or onto HDAM SR?

If you are looking to record uncompressed 4:4:4 onto hard drives you should definitely go check out The Camera House, and talk to Derek Schweickart.

I think that's only if youre on public property.

I think that would be 24 bits, 2^16 is sixteen bits.

I have great reception in Woodland Hills with my Cingular phone, and terrible reception with my Verizon phone.

Sony Pictures Studio has a really nice weapons section in their prop house.

I didn't find it blasphemous, I just thought it was an over hyped snuff film.

American Hi Definition will rent you the projectors you need. http://www.hi-def.com/

I'll be there, Booth #SU6365.