Elhanan Matos

I've seen HD blown up to 70mm and it held up pretty damn well. I was at the screening for the 3D superbowl trailer for NFL Films last year done by Cobalt Entertainment, and I expected it to look horrible. That was the first time I have ever seen HD Filmed out, I expected to see blurry pixels all over the huge IMAX screen, I was wrong, it looked amazing. Of course I don't expect anyone to believe me without seeing it for themselves. The most amazing thing was the shots they were able to get. I would love to see someone stick a 3D 70mm camera on a steadicam and run down a football field during the super bowl... Actually I would love to see the steadicam operator who would even dare fly a 3D 70mm Film camera on their rig. ;) B)

The tape transport used in the Genesis is the EXACT same tape transport in the Sony SRW-1, actually the "Magazine" on top of the Genesis IS the Sony SRW-1. So yes the recorder can spin faster (twice as fast to be exact).

I don't remember Panavision ever saying that their camera was scalable. I do remember them saying that they will be working on a way of getting uncompressed HD out of it later on.

Oh my god I think I'm going to throw up! I haven't seen so much ignorance in one thread before! Filip, Do you know anything about HD, ANYTHING AT ALL! How about video? How about common sense? Do you really think that there has not been any advancements in HD since 1992? This is like saying, "gee theres absolutely no difference between Umatic and Digital Betacam, because they are both standard def formats" John, You have to be kidding. Why do you even bother posting in HD related topics if you don't really have anything informative or helpful to say. I'm so glad to see that I'm not the only one getting tired of hearing this endless and futile debate.

I think thats about how many movies "Vivid" makes in a week. ;)

This forum would be a good place to start.

It sounds like an inferior lens to me. Color fringing is something that you will rarely see on a tv screen with a good HD lens (or a theatre screen if were talking about Digiprimes) Both Fujinon and Canon make great HD lenses for television. Sadly there are still people out there shooting television on HD with really old Standard definition lenses.

Is that because of their price?

You can do the slow-mo effects (60i to 24P) right on the studio decks, I've done it on the SRW-5000, but I think the F500 does it too.

More artistic? How? Maybe more familiar. Thats like saying, "I feel more artistic because I paint with oils instead of acrylics."

Lets not forget about equipment. Are you going to carry your magliner on your back going to work on a bike?

I just bought a flatbed scanner from Epson it was about $200 and came with three film carriers, one for 35 neg, one for 35 slide, and one for medium format. I bought it because it was the only scanner that I could afford at the moment that had a tray for medium format. It's a decent scanner and came at a great price. Here is a picture I took and scanned with it.

We have a camera that does 1,000 fps in HD and up to 4,000 fps in SD that is available for rental. It's called the Cine Speed-Cam.

Wow... You're good. That's exactly what that is. I saw it over at ILM and thought it was the coolest camera I have ever seen, the body is made of carbon fiber. They also had an Arri camera with a Mitchel movement, that was neat.

The studio deck and the field recorder have to different transport systems. The SRW-1 has the new transport system with the motor that spins twice as fast as the old one(For HQ mode). From what I've heard the HQ mode was originally designed specifically for stereo mode for 3D work, so work on the HQ mode started after the SRW-5000's were already released.

All this talk about effects reminded me about a picture I took of a camera that I thought looked really cool. I would love to see if anyone on this forum can recognize it. ;)

It was most likely shot with the SQ mode, the reason for this is there arent any studio decks that will play back HQ material. To play back HQ material you would have to play back from the field unit (SRW-1).

You should take a look at the Imicon scanners. I believe they came out with a Scanner for about $5,000

Thats it! IR not UV! The optical low pass filter also filters out Infra Red light, NOT Ultra-Violet.

Kind of rare here too, not too many people use it. It's the same half inch mount that is on the cheaper Sony DSR cameras. It's a little bit smaller, but looks almost identical to a B4 mount. Yes you could use the X300 for B roll work, I'm not sure how conveniant it would be; don't forget you need some sort of field recorder (IMHO, it would be easier to shoot B roll on the HDV camera). I havent had the chance to project the Canon lens yet (our lens projector only takes 2/3 inch lenses) so I can't really judge it yet. It's a pretty neat camera, but I personally prefer the Ikegami box camera. It's about the same size as the sony, but has a 2/3 inch imager.

What it does is blur the lines between the pixels on the imager to prevent moiring(sp?), and aliasing. I believe it also has a special coating that blocks out UV light.

What framerate are you trying to achieve?

We've had one in our showroom for about 6 months now, and I got to play with it a bit. It's a nice camera and the image quality is almost as good as the F-900's. The picture is noisier in the shadows and midtones. And the camera uses a half inch imager, so you can't use your standard B4 lenses. But the lens that comes with the camera is a pretty decent lens from Canon. If you have any more specific questions about the camera I would be happy to answer them.

That sounds like a great idea Mike. One feature that I would love to see simplified a bit is the knee circuit. I think having a graphical interface for the knee circuit would be very helpful, something like a graph displaying the actual curve letting you see exactly where the knee point is and at what level its kicking in on.

I'm not sure if I would agree with that, you should only use the DCC on certain occasions; but I'm sure Phil already knows that. The Varicam is a very simple camera to use, It's not nearly as complicated as the F-900. See if you can find the Operations manual and scan through it the night before the shoot.