Stephen Price

Does anyone know the exact sensor size of the F35 in millimeters? And what the exact mega pixel count is for it? Thanks Steve Price

Take 2 Films in London have the Vantage Blue Vision filters. They come in two grades; no-1 and no-2. www.take2films.co.uk

Thanks for all your replies, i have a lot to read and divulge before i can even think about asking anything else! Thanks again Steve

I have heard Panavision's Genesis uses logarithmic processing, other cameras, such as the Red One use a linear system. From what I think I understand, they are two different algorithm codes used to process and store the dynamic range of the sensor output. Is there any truth in this? What do these terms referrer to? What is the difference between these? And what are their advantages? Please help my confusion. Thanks SP

In my experience, pushing the Red One past 320 ASA produces a huge amount of noise in blacks, to an unaceptable level, i would recommend never going beyond 320 ASA. Also, the CMOS chip is Daylight balanced, and i have experienced much noise when balancing and shoting with tungsten. Even though its RAW and should be versitile in post. I have heard people leaving the camera balanced for daylight but using an opticle filter to correct for colour balance.

What does 60p look like in NTSC? If it is 60 frames per second, then why is it not slow motion? Thanks

Is there any tape format out there, that is uncompressed? If a format has 4:4:4 colour sub-sampling, then that means it is compresed, yes? What are the true uncompressed formats? Thanks Steve

What exactly does the step gamma do on the Sony 900r? Any advise would be really grateful. Thanks Steve

This may be stupid but i'll ask any way... If you attach an anamorphic lens to the camera port offset by 90 degrees from the normal position, will the squeezing effect become horizontal instead of vertical, would the squeezed anamorphic bokeh appear horizontal? would flares become vertical? Thanks

Thanks for your reply. Is an HDSDI signal always the same, is it always 10-bit 4:2:2?

Hello, The sony F900r has 4:2:2 10bit out of its HDSI. What does the HDW-750 have? Thanks

The British company 'Movie camera support' produce quite a good arm and pretty strong, one problem is when you loosen the locking screw, the whole arm goes completely limp. http://www.moviecamerasupport.com/movie-ca...o-Panasonic-LCD

Thanks so much for your replies!

Hi Guys, I'm a little confused about how the HPX900 system mode works, I've searched the forums and cant find the specific answer i'm looking for... When wanting to shoot 1080 25p on this camera, do you choose System Mode 1080-50i, then select Camera Mode 25P? If so, why is that? It it true 25p? What does '25p Over 50i' mean? And one other question, for shooting 25p, what should the time code display select be set to? Why is the only two options, 30F and 24F? Which should i put it to, when wanting to shoot 1080 25p in the UK. Thanks so much Steve Price

I have also read his books, admittedly they are very good and informative, but the impression i got from when i read that he does not use waveforms is that he is suggesting he is so good he doesn't need to rely on this electronic tool.

It really depends on the production and the situation, but i will usually waste up to 120' on 16mm and around 100' on 35mm, if i have to. The least the better though, obviously. steve p

Taxi Driver's overhead tracking shot reflecting on the carnage. Shot by Michael Chapman.

Taxi Driver's overhead tracking shot reflecting on the carnage. Shot by Michael Chapman.

I have found these cameras to drift, same lighting situation, but over time the cameras will begin to look different, usually one more green than the other. In your experience, is it common to constantly adjust menu page settings, using waveform and vectorscope and chip chart to achieve a match picture? Is this practical on set? Is it often done?

Does anyone else experience extreme differences in colours between two Sony 900r's? These cameras seem to all have a green hue, but i find two 900's up against each other with the same colour temperature, look different. How do others people match multi cameras on set? I find i have to constantly tweek one cameras colour temperature to stay matched with the other. Is this common and how do others deal with it? Thanks

How does one do a 'wedge test'? i'm unsure of the process involved to find the latitude of a camera, could anyone please elaborate? Thanks

Could anyone help elaborate on the post production requirements and work flow when shooting with the Varicam? From what i understand, it uses DVCPRO HD, and the drum speed is rotating at a speed four times the norm, resulting in tape lasting one quarter of the stated tape length. When shooting variable frame rates, i have been told to keep all variants in frame rate to separate tapes. This is to simplify the ingest of material when using the deck. Is this correct? What is the deck? And is there anything else of importance to know regarding the post production side? any information would be really appreciated, thanks guys Steve

I didn't go myself but heard there was much interest with the new high speed Arri 416. And the Phantom HD with its Cine Mag. There seems much interest with Phantom HD at moment, i have seen it in action and it looks great, though on the expensive side, but would be my chose for high speed work on High Definition.