Sam Kim

hopefully someone in the PFL department will pick up tomorrow. i've worked on and off for several companies for 3 years. i'm also an adjunct professor at a school for 1.5 years so i'll see what that my benefit me also. fingers crossed.

600 eligible but dragging my knuckles on the ground to pay out the money to join. :] Contract services doesn't like my new media kind either.

Thanks Bill. Do you know how it effects you if you're not a staffer but a freelancer? Should it work relatively the same way?

Does anyone have any experience with this? I work in LA, work a bunch of new media and work off W4's. I'm technically an employee of the companies I work for. I don't work every day but I can be shooting anywhere from 5 days to 20 days a month for a company doing random things as a DP. Baby will be born in February and wanted to be able to take some time off. Do I qualify for Paid Family Leave (PFL)? Being the holidays I can't get a hold of anyone until next week but I thought I'd reach out to y'all. Cheers

ghosting is more of glasses+ monitor thing? i was hoping it'd be that simple. time to ask them to give me all their glasses until i can get it right.

work within the limits as Ram is suggesting. i'm not aware of a remote unit, YET but maybe they'll have one. what effect are you trying to do though and is a convergence pull really necessary?

i've been testing it in a rental house and plan on shooting a short on it next month. there are different things i'm hearing about the camera itself (such as that it still needs Horizonatal and Vertical image translation later on even though it's advertised to be perfect in this aspect. also, because of the inability to change your IA you are limited to what feels like 3D depth. i've seen footage of massive landscape wides that just didn't feel... stereo/3D ish. it was flat and 2D images have felt more 3D. with that said... the word is that the spot for your depth is about 9-25ft. which is a limitation i'm going to try and work with and use the "strong" 3D depth feel only when it's emotionally needed to set it apart from the rest of the film. i was monitoring off a 3D panasonic monitor and i saw a lot of ghosting but i have yet to find out if it's the monitor or the camera. i'm trying to get my editor to run some tests with me and hopefully but it through some dynamic range and EI tests. cheers.

all is very helpful and very clear. thanks.

you used the Genesis and shot to rec 709 but created a gamma curve on top of that to create a fake panalog? that sounds like you had to fight against yourself a lot then? thanks for the information. what i'm understanding is that gamma curves are used because that gamma in tv monitors and such. and that log encoding was made to match the film world and the characteristic curves of film. is this right? to me it still sounds like they're doing the same thing with linear sensors just matching to different output destinations in mind but that curves are being manipulated by companies to match what they think best serves their product. one thing that concerns me, is that my colorist mentioned that since we're correcting everything to a rec709 plasma (no money for a big room with P3 color space) i was wondering how that will look when projected in environments that i have no control. at school we have a 4k projector that the projectionist can set to rec 709 so i can expect similar results to what's being displayed in the color correct, but what about everywhere else? is this just a normal thing though? exhibiting is always up for grabs?

i'm working on a sony f800 and i have put in a gamma curve that matches panalog. i'm also working on the genesis and capturing panalog. by eye and by tests of color correct this works fairly well and then a friend asked me to define the difference between a gamma curve and log. i had no real answer for him. please correct me if i'm wrong, but my understanding of logarithmic curves is that they are taking the sensor data and making quantization points to make a better curve to get the most from your sensor. does a gamma curve not do the same thing?

so the test now involves an F800 with a gamma curve built to emulate panalog. instead of recording to the XDCAM Disc we're also going to be testing the 10 bit HDSDI signal to HDCam SR. hopefully, this will yield the results we're looking for. I'm trying to confirm that the HD/SDI signal is in fact 10 bit. Does anyone know by chance?

i agree. it is silly but i don't think we'll make the day without another camera. and it looks like we'll be using a Sony F800 instead now with digiprimes. would you still suggest the 1 stop gain? i'd definitely be trying to match the depth of field a bit better. the plan is to make the b cam an action/insert camera and butting the cameras up as much as possible. Bob Primes mentioned to me today that I should shoot cine1. that shooting the camera the flattest i could would be the best bet. I'm doing a test at Panavision on Monday, so I guess I'll have my answers soon to see how correctable things are. I really worry about the dynamic range though. Thanks for the reply, David. It's always appreciated.

My A Camera is a Panavision Genesis. We have heavy days that would benefit from using a second camera. I have access to a Sony EX3 and a KiPro, potentially, to use but I'm worried about getting their colors to match. We'll most likely only have the EX3's stock lens to shoot with so this is an issue also compared to using the Primo's on the Genesis. Also, my editor will be editing in AVID and capturing the Genesis footage to DNxHD files. What would be the best way to get him the files from the EX3/KiPro? I'm thinking of possibly just shooting the Genesis with the SSR when we use a B cam and then capture files onto the SRW from the KiPro and also let the KiPro record also onto its hard drive as an extra precaution. Suggestions on how to get them to match as well as how to deal with it all in post are welcomed!!!

lensbaby... the poor man's swing and shift. done. next question?

btw, sfstate, which you're right by and is where i went to undergrad, is a top 5 film school. they have a good program for a lot less money. not the best equipment but you can learn a lot. i would recommend going to their thesis film screenings that happen soon. contact the production coordinator there for the cinema department and take a look. it's worth at least that since it's so close.