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.

salut thibaut tu as 3 boutons en facade : sel set et mode presse mode puis sel jusqu'a voir des petits traits en bas de l'ecran digital : ces traits signifient le style du bip, passes par tous les choix en declenchant a chaque fois pour verifier. bonne chance --- Hi Thibaut, There are 3 buttons on the digital panel: SEL SET and MODE Press MODE and SEL until you see a underline/menu on the digital display. This underline selects the type of beeping. Verify your selection by triggering the camera. Good Luck. .... Incindentaly it also selects a few other things, like fps lock and variable and constant frame rates, I have not a clue if this is right.

I missed the Shure field mixer part oops. Yeah you should be 100% dandy with a solid state recorder. Your Shure Mixer is acting as the Pre-Amp. :-). Make sure your V/U meters on the Shure do not read above -6db - then connect it's line out to your recorder. I don't believe the DV cams are switchable for Mic/Line. Make sure you hear no noise in the system and capture as much as you can "un-mixed", oh and "shock mounts" - "shock mounts" - "shock mounts'.

1. M-Audio http://www.zzounds.com/item--MDOMICRO records to compact flash. 2. Zoom http://www.zzounds.com/item--ZOMH4 Benefits of both is that they use 24bits and can do up-to 96khz, where as your DV is going to be 16bit/48khz with audio compression applied. Your signal chain though should include a pre, as pre-amps are not good in either these nor your camera. [MIC-Boom] ---------> [PreAmp - Peak at -6dbV] -------> [Cam or Solid State Recorder] Your source material running at 96khz and 24bits will be far easier to clean up if noise does happen, don't use this as the golden sword so to speak. I agree dialogue stays between the low-mid to mid-high frequencies, so a DV cam with it's built in compressor and eq chain before the stuff hits tape is 100% OK. Just depends on how careful you want to be. But recording directly to DV will be easier and faster, it will sound better with a proper pream though... MINIDISC is EVIL, it has a compressor, limiter and a bunch of other things in the signal chain of the MIC input. ADTRAC compression is HIDDEOUS, intended for capturing _MASTERED_ final audio, and represents a frequency scale algorithm that does not favour speach. ADTRAC is propietary and copy-protected, so to get your digital recording out of your MINIDISC w/o suffering analog generation loss (playing it back and taping in through the analog out) is near impossible. I'm sure some SPDIF/EBU reconnect is available but yet again its 1x speed. (i.e. you cannot just download what you've recorded) Yeah there is a digital connection, but only for ADTRAC-5 which is worse than MP3 and Windows Media 96k-bit.

Photomosaic is being thrown out as Obvious. One only needed to watch any stadium game on TV in the 1970-1980 to see how such displays are created using many people holding cards. In the UK his patent was recalled as being obvious and previously invented allready. His original patent is on the software that maps small photos on top of big photos. Sort of like ASCII art was back in usenet days. Alessandro: Patenting computer operations is also very dangerous, and is of great debate in the EU/UK currently. Cuz tommorow somone can patent 2+2 operation, and you calculator program will not work. Or a disc write. Or your bios/boot sequence. (which IBM did a long time ago and we all see how far it got them). Patents usually appy to original inventions, compression algorithms, physical things like toasters and grills. Original designs like the pepsi bottle (the shape not the logo). They should not cover "obvious and easily understood" ways of using existing technology. Including motion picture. Esp. in such broad scope as to prevent others from doign the same thing using the "method".

A Solid State 24bit/96khz recorder (no tapes, no harddrives - those make noise) is about $300USD + $900 for ALOT of MEDIA. Gigabytes of Media. If any of your shots will have the camera and the boom guy more than 30ft away from one another you'll have a problem and be forced to use a Wireless MIC setup. Which costs money. A 200ft cable won't solve this problem either, since the analog cable will start introducting OODLES of noise into the camera. Thirdly it's a hazard, XLR plugs a locked to the camera, anyone steps on the cable, and BAM, you have either a damaged camera plug, or a damaged camera altogether. I'd say record both. Use a pre, to distribute XLR connections to both a Solid State digital recorder and to your XLR jacks on the camera. Pre-Amps is what matters in this setup, more than what you'll tape/digitize it onto. A decent, stand-alone pre is a bout $600 from zzsounds.com. I know not, at all what the pre-amps are like in the two cameras you've mentioned. It will be more work to put the sound back in sync with the footage, and you'll have to use a slate, or a tone. But you'll prob have to separate the sound from the image anyway to clean it up, and to do the efx, dialog, foley and score mix tracks in the post. So no big deal there.

On the other hand. If you are in a prodcution shop, filled with Macs, and lot's of Final Cut installations (like 10-20 people with Final Cut Studio Installed) than during "off-hours" you can send all these idle machines encoding jobs, and do quite well with it. Just make sure all those computers can talk to eachother. This is what the primary goal for Qmaster2/Compressor2 combo is now. I think it was designed around DVD Studio when it was a stand-alone product. Makes me wonder what that BBC guy meant when he said "We'll no longer have to pay for gear, just for that raw tallent" in his FCP featurette...

Amen!

I think using the QMaster/Compressor combo would be a bad idea... But if you're going to do it, you should know this: 1. You'll need a full Final Cut Studio License for each machine (Xserve or Mac Pro) $1300 USD per node. (With Individual License Keys - It detects if the same license key is used twice, and exits.) 2. To get any decent speed from the Cluster You'll need either A) A Gigabit Network - Only good for about 10 nodes. $2,000 for a decent switch B) An XSan Setup - $15,000 + $1000 Software License (XSan + XServe RAID - 10.5TB) $1000 per machine for a fibre-channel card. (If using Mac Pro, XServe _should come with an inferior 2x card built in) $5000 fibrechannel switch/hub. Total Project budget for a speed-up rig would be. 1x QMaster Controller -3,000 USD $3,000 5x MacPro or 5x XServe -3,000 USD per = $15,000 6x Final Cut Studio License -1,300 USD per = $7,800 In a Gigabit Switched Ethernet you're looking at about : $27,800 for the setup. In a XSan environment you're looking at about : $51,815 USD for the setup. The XSan (You can still use Mac-Pro's if you like) will run WAY-WAY-WAY faster than the Gigabit Ethernet setup, as the "source" media and frame transfer between machines is much faster. ----- NOW FOR THE FUN PART ---- 1/2 of the things you though you would want to do with Compressor 2.1 and Qmaster (Apples Job Distribution Engine) will not be possible due to restrictions on technology and licensing, such as the case with 3G/Windows Media/Dolby Surround etc.. etc.. etc... ----- NOW FOR THE EVEN MORE FUN PART ---- It will not in any way, shape form, by inference or otherwise make Final Cut run faster. No way to do this. If you go to apples website this will be "missing" from their marketing literature and specs. Oh did I mention Compressor 2, and 2.1 CRASH, ALOT, esp when used on Remote Client Machines for exactly that, Distributed Network Encoding or DNE as Apple Calls it. -> Below is a link for a H.264 hardware encoder for Linux. I've not tried it, but I think it's a start for you. -> I don't know what AVID is doing with H.264 ... like at all.. http://www.dspr.com/www/products/video/com...pci_encoder.htm

Jonathan if you have time ... Read this Website. Apparently they "OWN" your footage, the original USPTO Patent applies to a 10 lens camera. Their broader patent applies to anything that looks like the matrix effect. They require that Broadcasters and Film Distributors acquire a license if their original footage looks like it could have been made by a knock-off camera. http://www.timetrack.com/invention/inventionmain.html There is a thread on this in the 35mm forum, which began in-occuosly by a gentleman offering a "knock-off" unit for rental in the European Union. "we have also been issued patents on the process of producing virtual camera movement using any array of cameras - and we have been issued patents on the product of the process (i.e.: the actual media produced by the process)" Where was everyone when the WPO Treaty was being Ratified in 1996? Or the DMCA or the Like in EU being signed into law in 1998? As I am certain the only thing that allows them to "expand" into your own work is that stuff, prior patents had a more narrow scope. Oddly the broader scope was to ensure that DRM enabled video and audio recordings would not ever see an "alternative" player. As in Windows Media is encoded with DRM cannot be read by a device that is not licensed, therefore the "output" of the device is also protected under a patent. But look how these nice, broad laws allow someone to go nuts... No-one serious is ever going to challenge this "content" patent.. 1. An injunction would be obtained until the matter is heard, this means you film with the "infringing" footage will be tied up in courts for 2-4 years, while you'll see no return on the film. 2. When applying for E&O for broadcast or mass projection, you'll be forced to pay. Just like the documentary director who had a t.v. with simpsons in the background.

They absolutely should not. No one knows if "I" my humble self, will ever achive anything original in the cinema medium that's cool enough where people would want to copy it and "play-it-out" so to speak. But I would never attempt to restrict people from creating, as the next guy copying some 360 spin/jump/roll around kind of a thing may improve up on it.. I think attempting to patent orgignal camera moves, and filming styles is "silly" but very viable with the way WPO and countries who signed treates with the WPO act today. I think politicians in general should not mess with anything creative. As they are politicians and buerocrats and don't understand creativity by default. But for some reason most of the civilized world hands them the burden of "determining" how creativity should be governed. On the other side, it will give DP's stuff to do when not shooting....... Litigation :-). P.S. Patent filing is not cheap, about $5,000USD or more (as a base price) While we're on the topic, I don't think "Shutter Removal" was patented. So by Inference, the first one through the door to their respective patent office to describe "Removing Shutter from Motion Picture Camera" to achieve smearing effect on film, and have 2 still frames of the look of the effect is the winner.