monday sunnlinn

Wow, can't wait to see this....they should show the space station one together with this as a 3D double feature!

ok, wasn't expecting that form factor...kudos to them for thinking out of the box, well, make that thinking in the box... It would seem like making one of the lenses slide on the x-axis would be the next step.

I did some poking around after watching the video and adobe labs was all over the place...so I imagine it will be in After Effects at somepoint...

that is pretty impressive...I wonder how long until that makes it into after effects... thanks for the link!

the quality of the power the home depot gennies make is dangerous to sensitive electronics and lighting elements... this was informative for me... http://www.screenlightandgrip.com/html/ema...generators.html just keep in mind that a rental company posted this...so it might be somewhat biased...

this will definitely show how little I know about the internals of a good lens, but is it possible that the change in humidity of the air between the elements are actually moving the individual elements by changing the air pressure?

well, it's from hawaii, so maybe there were so many scantily clad women that they just couldn't be framed out of every shot...

So a personal sci-fi project involves CGI and spaceships, both on orbit and in interplanetary space. I'm curious as to what the set-up is for NASA and ESA when they shoot in space, I know IMAX is involved to an extent. A first, brief googling turned up nothing in depth. I plan to google some more, but I also imagine someone hear could point out some more esoteric or anecdotal info... I'm looking to recreate the look that these real world shots from NASA/ESA have in order to help with the suspension of disbelief as the writing is what I would call 'extrapolatory' sci-fi... I'm curious as to both film and HD video that they use, lenses, filters, cameras, filmstocks/codecs, tricks for exposing and fighting the earth's albedo..etc.. any help is greatly appreciated.... :-)

I've only seen the "Basterds" once, but I think there was much more style added in the DI than reservoir dogs, which looked bleak on the standard def DVD, very grey, looking at the screen grabs from the blu-ray makes me think that they remastered it and added that contrast for the blu-ray. As for the Basterds, I think they really punched up the reds some in post for effect(those 'natsi' banners jumped right off the screen, so did the theatre owners red dress as I recall). The whole look seemed to be going after the recent, old-timey, war movie, epic look with the super contrasty, slightly underexposed, gritty colors, but with certain colors emphasized at certain times for effect. as a personal note, I think the dialogue in this movie was probably some of the best I have seen in a long time...the opening conversation, wow...

I just saw a trailer for Repo....looked very interesting...it actually was more interesting than the movie it was before...which I didn't even finish...

if any cartoon should have been done as a complete CGI epic, it would have to be this one...I would rather watch an animated cobra commander than a real life version...is there even a cobra commander in this movie? or is this his backstory? Actually you know what...don't bother answering that, I just realized I don't care... :rolleyes: the only thing this movie has going for it at this point is that it probably won't be as bad as everyone is thinking it will be...I can only hope they put a "knowing is half the battle" PSA in the end credits...

Again, I've tried both and the panasonic wins. The EX-1 has bad jaggies on soft edged things... it's strictly due to the color. If you can record out of the HD-SDI from the EX-1, go for it...but if you could afford that set-up, you could just get a better camera than either probably...

I've owned both the EX-1 and the HPX-170. The HPX-170 wins hands down. The EX-1 works okay for hard edged objects, but that's about it. Other tips would be: - use the fastest shutter speed you can stand. - check out Conduit for keying...it's nodal based, cheap, has a plenty of tutorials and works wonders for keying, even on my frizzed out dreadlocks... Also if you are going for the panasonic route, HVX or HPX, try the neatvideo noise removal plug-in before you key it. It is the closest thing I've seen to magic in this world. If you don't want to use that plug-in try turning down the detail a little on the camera and turning up the coring some, this will reduce noise, but with a minimal amount of detail going away also. (That's why I prefer the neatvideo plug in...) :-) www.neatvideo.com http://www.dvgarage.com/prod/prod.php?prod=conduit2

LOL I'd be curious to see what details I overlooked after being shot into space on what at the time was the largest rocket ever built, then travel for 4 days in a tin can. Land said tin can on another celestial object, then, while in a rigid spacesuit, manage to bounce around on a surface with 1/6th the gravity of earth... I'm amazed he remembered to remove the lenscap.. :-)

I though it would have gone without saying that the artist would choose the best medium that is within their budget. I guess I was wrong. I'm not judging film, I think film is superior to the red or the viper or genesis (i wasn't talking about a film out from prosumer cameras that's ridiculous)...I just don't have the means to afford to learn and shoot with it. I think you are intentionally looking for an argument. I didn't say digital was better than film. To clarify my position further. The difference in the final print for projection between the best digital and film is so small after the DI that if the average viewer has time or attention to even notice, then the content probably needs some work. sorry for the confusion.