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Gian Claudio

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About Gian Claudio

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  • Birthday 05/16/1977

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    1st Assistant Camera
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  1. What about "Surround View, which is an additional visible area outside the actual recorded image (from the Red camera manual)"? Does that mean the sensor has actually got more than 4096 horizontal pixels (even if they are not recorded)? In other words; is this "not recorded but visible area", that I was by mistake referring as "safe area", included in the 22mm width? Sorry David (and thanks for your patience!), I know you already answered me but today I tried putting the 50-65 hard matte in front of the 24mm and it still didn't cover the frame (it became visible only by closing the iris down to T11 and setting focus to the short end!) It's still hard to believe the recorded area is equivalent to the width of an academy 35mm gate when you look through the viewfinder!
  2. Is also the safe area included in these 22mm?
  3. Hi, I just began working as a 1st AC on a feature film shot with two Red cameras (4K, using Ultra prime lenses). I arrived when the job was already in its 5th week, so I didn't do any kind of camera test in the rental house. It's my first time with Red cameras. I read on the Red site that the camera sensor sizes are supposed to be a 24,4 x 13,7(or something close to that); this to obtain a frame size that is the same of S35 standards (an Arri ANSI gate exposed area is 24.9 x 18.7mm; I realize it's higher cause it's a 1.33 aspect ratio vs the Red's 1.77 HDTV cmos). Looking through the viewfinder I noticed that the field of view of any lens I mount seems to be much shallower than it would be in a S35 or even 35mm camera's groundglass. It seems that the effective sensor area you are exposing is much smaller than the "super 35mm" frame they claim... I confirmed this to myself also by leaving, by mistake, a 50-65mm hard top on the lmb5 mattebox, in front of a 28mm lens; when I realized my error I took a look in the viewfinder and absolutely no vignetting was noticeable! (obviously no "focus check magnifying" was engaged). The edges of the matte were not even visible in the safe area outside the 2.40 format! Has anybody done (or heard of) a close comparison between Red camera and super 35 camera effective field of view? Assuming that I am wrong and they are the same, isn't the "out of frame lines but still visible" area (in the standard 2.40 "Red" evf markings) itself already much wider than the correspondent area that would separate any S2.40 frame leader test side edges from the ANSI (24,9mm wide) side edges exposed through the film gate, next to the perforations? Thank you for any answer!
  4. How does the 200 degree shutter aperture (i. e. in Platinum and GII cameras) work without exposing the film transport phase? Is the film transport phase "faster" than the exposing moment? To be more explicit: how long does it take, assuming we are shooting 24fps , to the threading mechanism to move down the film of 4 perfs, before it can expose the next steady frame? Why is this not possible in Arri cameras? Is it related in any way to the different nature of the shutters (single blade vs dual blade or film plane positioning vs 45° inclination)?
  5. Hi, I just realized a film inventory sheet on excel and I would like to know your opinion. I tried to get everything the most "automatized" I could and I'm quite happy with the result. It is saving me a lot of time after wrap! The info you have to input for each roll are: - Roll number - Loaded - Exposed - Print ,together with the "previous days infos" By itself it gets out the no print, the short end created, the short send used and the waste (that on my example is fixed to 100' or less, but it can be changed). It hilights by itself also the quantity of 1000' and 400' rolls used, taking them off from the "on hand" cell. The only thing you must avoid is to create short ends equal to 400', as he considers those as new rolls. The cells that don't need inputs (because they contain calculations) have been locked, so you can't erase the functions by mistake. On my example there is a sheet for 5201, one for 5205 and one for 5218: you can write the date and day number on the first one and it copyes by itself on the other stock pages. I would be happy if you try it and if you let me know what you think about it, if there can be improvements to get it better or if it has been only a waste of time! I don't know why I can't attach it on this post, so if you want contact me (giacomini@fastwebnet.it) or by skype (mazzingazzeta) (sorry to everybody for the probably awfull English....) Gian Claudio
  6. Thank you very much, very clear answers! Only one question; what are exactly the "splices" you talk about?
  7. Gian Claudio

    2.35 vs 2.40

    Hi, I'm really interested in understanding the difference (if there is) between super 2.35 and super 2.40 formats. As far as I know the two formats seem to relate to the two different main camera systems (respectively Arri and Panavision). If I prepare, as a 2nd AC, a "non-anamorphic-scope-job" with an Arri camera, I'll have a super 2.35 groundglass, but if I prep the same job with Panavision (or Panarri) I'll find myself with 2.40 viewfinder marks. What's the real difference? By the time the lab is going to squeeze the original neg that will be later deanamorphized in theaters in the same way ,not depending on what camera or groundglass I used in the framing process, is there one of the two formats (frame marks) that doesn't cover exactly (or maybe "overcovers") the projection aperture?? Is it only a matter of standard conventions? Thank you. Gian Claudio
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