Dennis Kisilyov

For any color intense work via DVI/VGA I'd recommend either LaCie monitors (albeit they are not 16x9) with a colorimeter or EIZO. LaCie can do CRT-like gamma. Apple Cinema - I think, had a shortcoming with limited calibration ability on the largest displays. I may be wrong.

I thought AppleTV copies the content to a hard-drive that's inside it, over 802.11 wireless or wired networks. I don't think it "streams" anything aside from Net Radio. I could be wrong. Your best bet is to set up a fileserver, onto which you would dump your finished work (not more than 30Mb per second encoded video). Then use a cheap-o computer with a network connection to play the files on a plasma TV. Whether you go PC or Mac is up-to-you. Quicktime works well on both.

I loved every second of that video. The crew guy who was getting hit in the head with books, that was kind of bad. O'Russel wrecking his crews work, thats also bad. Everything else is just stuff that happens during high stress. Though it is remarkable that all the other principle actors are so quiet. Remarkable. I saw this film and sew me but I liked it alot, and heard O'Russels commentary, and he did not strike me as a dude that would filp like that... I don't think the car interior shot with Wahlberg in the back ever made it into the film. I wonder... However the first clip "wide master shot" with the blackboard is in the film :-) Lolz. Lily does have her feet up on the desk, only during another scene. Prior to Jason's character meeting Dustin. Funniest thing is O'Russel and Jason during the commentary said ALOT about "Lily and Dustin and how the two are "so wonderful" and how everyone "learned alot". Great quotes from this. I think this one is best with .... "Just shoot the f... thing. Shoot it right now..." - 2003 Dustin Hoffman

For that amount of money +200USD , get a MediaPC and play anything you like, in any format. Apple TV is a toy for iTunes junkies. It's not really a well-though-out product, and it's intent is to boost TV episode and Movie sales from the iTunes store, more than anything else. Or even get a MacMini, instead and then use it as an additional encoder for FCP.

You can do wind as you go, I've tried it, the speed governor will not stop the camera from running as you "add load to the spring", but it's ill advised as it can result in adverse exposure/flicker. It will also shake the camera obviously.

Congrats! Now find a lab, and try to get an educational discount from kodak.

You'll still be framing blindly, but Super-16 conversion adds to the frame from one side. The K-3 ground glass cannot be added to. The only thing you can do is re-centre it. Masking the ground glass wont work as the super-16 frame is not smaller (a crop) of the original 16mm frame. It's physically larger and only to one side.

I suggest you ask Clive Tobin for the info, I don't know how inclined he would be to release the specs for his K3 sync motor, but as far as I understand a considerable amount of machine-ing goes into the install. Which would mean that most of the clockwork that is K3 would be kept, the shutter, the big gear. So installing such a motor would only do sync, it would not reduce the noise level any, as the spring motor itself does not make nosie, the gears do :-). I'm certain his motors shipped with some type of nstallation instructions.

Martin, You should be fine, Your recorder can only do the following speeds. 44.1 48 88.2 96 or mutiples there-of. Like 22 or 24khz Two base Kilo Hertz speeds are 44.1 (CD) 48 (DVD/DV) in a typical edit/post environment you'll be using 48k for video, 44.1 is also "insufficient" for cleaning up ambient noise as CD audio 16/44.1khz was the bare minimum for finished albums. If you double 48khz speed you get 96khz - if you double 44.1 you'll get 88.2. If you're finishing to CD Audio it's better to record at twice the resolution at 88.2, if finishing to DVD/Digital Video 96khz.... You can also record at 48khz. Camera sync in the states runs at 60HZ not 60Khz. (Or a multiple/divisible of 60hz - the crystal in the crystal sync unit actually runs 5 to 20 times faster and than a divisor is used for 24fps speed computations.) Same with digital audio. Now you may experience small amounts of drift as the crystals in both units are different. Crystals change their performance based on kind, temperature, etc.. Also how much division or multiplication of the crystal speed is done in electronics. The only way to get everything into 100 perfect sync is use a timecode generator on both camera crystal sync and the recorder. If your scenes are not going to be longer than say.... 10 minutes per take, this drift is 100 negligible. The only time you can introduce speed drift is when your footage is _slown down_ to 23.97 for telecine, while audio is still played at the same speed. So if you run at 24bit/48khz you should be 100% fine with a Clap/Slate at each take in the beginning or the end. Now about matching "crystal clock speed" in your crystal sync unit and your digital recorder just to be 100% sure. Some digital audio recorders alow you to get "sync" which they call a "word-clock" or "clock" from an external source such as SPDIF/AES/EBU connectors. Or even a separate "clock/word-clock" input. This would mean that the digital recorder will not use it's own internal "clock/crystal" but borrow the other units clock. Typically this is done during digital audio transfer. But if your crystal sync unit can furnish your recorder a "clock-source" that you will have "zero clock drift". But once again the speed of these crystals is so high 96 thousand clicks per second, that the drift between the two crystals should be negligible for scenes that don't run for hours. Connecting clock on a digital recorder can introduce problems also, it can create digital drop-outs if the clock-source is ever lost. Sort of like, tape stopping and starting again during a take... So I would not go through a complicated setup like that. Plus if you are doing 20 minute takes, you can remove the silent parts as speed drift over 20 minutes would be like 0.005 of a second + or -.

Headlights on vehicles are kind of birght, if you're shooting "night-time" supposedly they have a good chance of blowing out the film. Is there any special trick/treatment. Like sticking in special bulbs or scrimming/tinting? When shooting "fake nighttime" outdoors.

ROTFL, Yeah.. they called everything RED. Even Krasno-gorsk means "Red Hills", pretty funny that they are reaching out for RED and not Panasonic/Sony :-). I guess it's still hardwired.

You should be set, as the digital audio runs at perfect 44.1khz 48khz or 96khz on this device. Typically DV/HD footage has sound running at 16 bit - 48khz (not 44.1 like CD) if you record at 48khz you won't have to dither/up-sample the sound. If you record in 96khz (1/2 of 48khz, which is real easy to downsample back) your quality will increase, but at a cost of storage. If your environment is pretty quiet, I would advise to record in 24bit/48khz for storage reasons. Crystal Sync works on the same HZ principle so you should not have major problems. Only time you would is if your post house decides to sync-sound to your footage at a different framerate than you've shot it in. I would also disable the on-board limiter if you have a good boom guy, and the loudest part of the dialogue should not go above -6dbv at 24 bit.

Oh yeah, the formel listing was put into Coins-Collectables-PreWar, not cameras, it's a 100% scam. True, some people just put their gear up with 0 feedback, trying to sell it. But those usu get 0 bids.

I am sick of eBay scammers in the Cameras -> Movie - category. I don't get it. Do they think that DP's are made of pure $$$$. I've reported 22 listings so far. This type will be removed quickly as per ebay rules it asks the person to conduct the transaction outside of ebay . Those are deleted quickly. It's the real scams that take 96 hours to remove. And call me a pessimist but the only reason eBay takes those types of listings down quickly is cuz they don't get their 5 percent cut if the deal is legit. ... dispatched email to the AOL abuse team (CS.COM) formerly compuserve belongs to them.

Looks like aftermath of de-interlacing and telecine. 100% not the shutter, cuz it would be vertical not horizontal. BTW, his nose is also ghosted, he (or the camera) were moving in the previous frame. Look at your negative. See if you could see it on there. If so, look for something reflective in the camera, next to the film plane/gate etc.. I hightly doubt it's on your negative. ...edit... 100% in consensus with Patrick If you do see it on your eng - It could also be emulsion from the previous 30 frames or so rubbing off onto the next wind.