Andre Labous

Sure this has been covered but........

Have upcoming shoot where flash effect on talent is requested. I'm planning on using my Arri Amira for shoot. As of now my plan is to use Creamsource LED with sync box and go genlock into camera to sync strobe effect. Any other suggestions to accomplish flash effect with no rolling shutter half frame? I realize a global shutter camera can solve this problem but I'm hoping to stay with my Amira.

Thanks,

Andre

I've decided on the Canon 17-120PL for Amira for documentary/sports for it's range. Granted it's not a light set-up but I've been using my Alexa with carbrio 19-90 with success. The B/4 adapter works great with 2/3" lenses. You increase the focal length around x2.5 and that'll give you equiv. 35mm focal length. 2 stop light loss but not a biggie with native ISO at 800. Negatives with B/4 adapter is it breathes a lot and makes camera very long. The Amira's EF mount is scheduled to come out by end of year so lighter set-ups will be attainable. Options are still on the heavy side at present, but the image is the reward.

Benjamin,

I had similar problem with my PMW-500 using a Canon HJ 4.7x11 lens. It my case the chromatic aberration problem created blue lines in edges from extreme over exposure on horizontal and vertical lines. The PMW 500 has Automatic Lens Aberration Compensation. In menus make sure you have right lens selected. My problem was finally solved when I sent my lens back to canon and had latest firmware installed so that the 500 could recognize the lens thus adjusting aberration.

Hope that helps,

Andre

I'm struggling the decision on what camera to put on RC helicopter for aerials. In your opinion is codec more important than field of view.

PMW-200 --3 1/2" cmos sensor. 422 50mbs. Wide is around 30mm (converted to 35mm) and with 0.6 wide angle adapter 18mm

FS-700 ----- super 35 field of view. codec AVCHD 420 . Slo mo capability. Wider lens options.

Scarlett------- whatever

5D------- h264. Blah

Maybe ARRI varicon.

I believe once firmware is installed need to power off then on. Then do factory reset.

Primitive but effective. Shot paddle boarders from boat. Draped black over head with hole cut for lens and c-47's to bean bag. Steady.

Andre

Here in Florida in 2002 we had a fellow cameraman killed in the same manner. He was shooting golf when they moved the cherry picker while still elevated and it fell over with the same result. It's a reminder that no shot is worth being unsafe. Recently I had a producer for a television doc ask me to shoot from the back of a pick up truck. When I refused they were shocked in that others routinely had done that for them. Safety must always be priority.

Uh. I think shooting at T1.3 does create shallow depth of field. The point of the "words" in the article is that at EI 800 with Log C the Alexa performs pretty darn well in super low light.

Oops. Totally off topic and not to offend but........IFC is replaying Freaks and Geeks and I've always been curious if the actress Linda Cardellini is of any relation?

Mafers (or super clamps outside the US) can be very effective on set. I had only ever used them as track emergency stops when I had track set up high with a big drop off the end. I never really thought of using them for anything else. I recently finished work on a movie where we shot in Bangkok, Samos (greece) and Istanbul, and in all 3 places, they had never seen or heard of a Cardellini, and used Superclamps exclusively. I was very sceptical, but hugely impressed nonetheless. They are very versatile, and in the hands of a grip who knows how to use them well, to its strengths and away from its weaknesses, can be as effective as a cardellini and sometimes better (sorry Steve). They cant do some of the things cardellinis are good for, but then maybe having both in your toolbag is a good thing.

Am I a convert? No. Too used to Cardellinis.

I am a freelance DP living in Florida and incorporated about 10 years ago. I was told with social security tax incorporation would save money. When you are employed by the man 7.5% SS is paid by the employee and 7.5% is paid by the employer. When you are an independent contractor you pay the whole 15%. Once incorporated what Mr. Boddington said is correct. Your W2 represents minimum salary and dividends are not taxed by social security. However there is the expense of the accountant to make sure it's all smooth. You end up paying for alot more for management of monthly payments to the IRS to the accountant and state. (not sure about CA) As I understand it it works to your benefit with income over $40,000 because you end up paying about $2800 annually to accounting. After that your saving that 7.5% The one drawback I have found is when you are an independent contractor you're kind of under the radar. When you become incorporated big brother is all over you. Also I pay monthly IRS tax by being incorporated. Hope that helps and hope I'm sorta right.

I would try Tiffen Soft FX. Highlights generally don't bloom.

Sony!! Still 2/3" chip. Why don't they put a pl mount with a 35 sensor and be done with it!

The operations menu can be customized. You can put most used functions in operation menu so you don't have to go search for them elsewhere. You can adjust frame rate settings in either menu. You have to power camera off and then back on to make frame rates change. To go into your monitor just use component outputs from side of camera instead of coming out of Miranda.

Shows like Weeds, Californication, Dexter..........still shot on Sony f/900?

Are you setting the T-stop on the lens with a grey scale measuring white at 100IRE by using a waveform or zebras set at 100?

Just shot a fashion runway with EX1. Shot at 40 and 60fps and had rolling shutter on each frame where a still flash went off.

Another option other than SR deck is to go into a panasonic P2 mobile. It will take SDI in from F-900 and record onto P2 cards at full 1920x1080, 10bit, 4:2:2. using the AVC Intra codec.

Doesn't the dual link 4:4:4 refer to an output only to say a SRW1 deck. Is is 4:4:4 at the head?

There's an interesting book called Vermeer's Camera by Phlip Steadman. It explores the speculation that Vermeer used a camera obscura to create his masterpieces. It goes into detail of recronstructing the artists studio and supports evidence that he did indeed use the camera.

Vermeer has always been an inspiration for my lighting style. Speculation of his technique and his interpretation of natural light could have very well been done with an early form of photographic tecnology.

You don't need Twixtor to generate 60p from 60i. You only need After Effects:

 

http://rarevision.com/v1/articles/slow_motion.php

 

I wrote that a while ago, but the technique works just as well with any interlaced source footage. Just make sure you set the field order properly (upper field in HDV, for example).

Thanks for the valuable link

I've struggled with the post house ad nauseum to continue finding new ways for slow motion. With the Varicam I found it difficult to follow the variable frame rate through completion. Labeling, changing tape and relying on the final post house to have the proper software to "flag the frames". That's why the 2700 is exciting. The thumbnails with 60 frames are played back that way. The table top is shot one day for donughts (not literally) cut into 35mm spots. Has to be posted next day so no time ever for film at 120fps. We now shoot 29.97 and just play back at normal speed. We use the mini-mover from Innovision in Burbank and have used the HD Probe lens until my recent switch to the HDScope. The editors mostly just use ramps for an effect instead of slow mo. Opposite but still effective for making a 10 second shot 3-4 seconds. Have struggled wtih slow motion w/ the 900 for years but it was a big nut to cover so I've stuck with it.

The plug in is called Twixtor. I converts 60i to 60p. Footage is played back in HDCAM 500 deck at 24p. There is however relosution loss. I also use the Varicam, HVX200, and just tested the variable frame rates of the EX1. I shoot table top of food often and have not gotten "excited" because 60 is not quite enough. Trying to get my hands on a Phantom. I have warmed up to the Panasonic and am looking forward to discussions regarding the 2700 and 3700.

Panasonic 2700 720p variable frame rate up to 60 frames or Panasonic 3700 1080p 1-30 frames. What's your take? Is 60 frames ever really slow enough to get excited about. Please no one say Red. I own and operate the Sony F900 and have relied on slow mo in post. Never really that big of a deal. Agree variable frame rate is more effective but they've been doing slow motion in sports with decks for quite some time.