Vincent Sweeney

I'm unclear as to why he didn't get an Alexa at that budget level. For what he is doing, it would be ideal it seems like. Reliable, better image in some ways and it's able to shoot to edit-ready ProRes in-camera if needed.

Sorry but that is all absolute B.S.. Ever hear the old saying, "You can't polish a terd!"? That perfectly applies to what DLSR footage inherently is.

Ok, one more! The man himself will be attending this Sunday. One ticket sold. An Evening With Emmanuel Lubezki: THE TREE OF LIFE http://www.americancinemathequecalendar.com/content/an-evening-with-emmanuel-lubezki-the-tree-of-life

I'd be a little concerned about an 18mm used for a close-up. Is a little distortion going to be appropriate? Post some pics of the set.

www.bonofilm.com Is east coast (Va.) based, as well as Cinefilm in Atlanta.

http://www.eoshd.com/content/5166/what-expensive-camera-obsessions-are-doing-for-filmmaking

Chris, you are a funny little guy.... Anyway, the screenings should be a great insight for anyone working in film. One of the lead editors Mark Yoshikawa will be attending alone as well.

Screening in LA next week with major Q&A guests on all days. Thursday's showing will have Doug Trumbull attending. http://content.foxsearchlight.com/inside/node/5050

What happens here is that many theater chains will not show the film at all. Each chain makes their own decision on what to show and many have strict guidelines about streaming. I know, for example, that AMC has a 90 day minimum policy. "Knowing", like all of Cage's recent work, was junk.

You paid to see Pirates?

Copied from a JoBlo article: Remember the 6-minute prologue for THE DARK KNIGHT RISES that is supposed to play before MISSION IMPOSSIBLE: GHOST PROTOCOL? Well, it's been confirmed by Warner Bros. and accompanied by a list of the IMAX theaters that will be playing it. A press release was issued stating that the film (Mission Impossible) will be released in North America on December 16, and in the UK on December 21, 2011. Additional international dates vary by territory and will be announced soon. There is also a small quote from Christopher Nolan on the prologue, “Our experience on ‘The Dark Knight’ shooting and projecting IMAX 15 perf 65mm/70mm film was inspiring. The immersive quality of the image goes beyond any other filmmaking tool available, and in revisiting Gotham, we were determined to shoot even more of the movie in this unique format. Giving the fans an early look at an IMAX sequence is a great way to draw attention to what I believe will be an incredible way to experience our story when it comes out next summer.”

You aren't likely to see any known films in this way because the last thing a director and/or DP wants anyone in the public to see are ungraded clips.

Some of the skin color is what gets me interested. Much of it looks better than anything Sony or red has been able to do. I heard Kodak made the sensor in it.

Well done test. I like the blunt DSLR comparison. Low-light ability is impressive. 8 bit codec, lack of frame rates, 1080 only... it needs to drop to $10K I would think. The F3 is tough to beat in that range.

You may want to try Wooden Nickel Lighting in NoHo. I've got some gel from their "extras bin" before, cheap.

I've used a Nizo for paid work, more than a few times, and never had an issue. I own two and the S560 is very much a workhorse and simple, while providing 54fps, which is a big deal to me and something Canon doesn't offer, though I do like the Canons. The "Nizo Professional" is probably the nicest S8 camera overall with one of the best lenses ever, but its out of that budget. Only the big Nizos, like the 6080, are belt driven and as a result, are the quietest cameras made but it can be an issue when replacement is needed. Negative film also works just fine in the Nizos.

Yeah, hence the posting in the Ikon section. Now I want to try one out.

Can you talk about why you think your particular needs are met by shooting "4K"? I'm honestly curious. I'm not an owner of anything anymore and glad of it. I'm just questioning a lot of this red stuff recently because of my own continuing issues on shoots I've been on that would have been much better off with something like an F3, etc. Jim's lack of answering my questions related to parts/support longevity of his products (and sunglasses) isn't helping my own take on the products either. ;) Do the brand guys really think all the big movies on the Alexa or F35 that are in theaters every month are not future-proofed? What does "future-proofed" mean to you? Wouldn't this mean something more like 8K and in 3D? Will "Tron" (F35) be watchable later on? What about the new film "Like Crazy", which was shot on a 7D? How did that little film make it into a huge distribution deal while being shot on a crap camera? Do the red owners honestly sell producers on the K thing, saying it will somehow help their films? What about established people who decided to shoot movies on S16mm recently? It won't resolve 4K. Is "The Wrestler" or "Blue Valentine" going to be useless in 10 years? Why would top DP's like Deakins and Richardson shoot on a 1080 camera? I'm just curious how guys who invest so much personal time and money into a brand see these kinds of issues, while putting up with so many difficulties that their camera causes, as well as continue to do final outputs to 1080, or worse, often for the web. I'm coming at this from the feature film angle so some of this may not apply to someone who is doing stock footage work, or someone who rents out to first-time indie producers who think their little movie is going to IMAX screens. The "K" marketing has caused a lot of unnecessary anxiety for so many ignorant producers. It makes me wonder if something like this happened with producers in the past with Vista Vision or 65mm.

Just had a one hour long conversation with a good friend who was wondering if he should buy a scarlet or stick to his F3. The F3 won in his case. I ran across Bloom's thoughts while looking for a break-down on the hidden costs and issues to consider. I feel like red is sort of shooting themselves in the foot with the lack of better frame-rates, media costs and battery issues, and this is outside of the beta B.S. that I have dealt with time and again. http://philipbloom.net/2011/11/20/scarlet/

I've done some LCD shoots lately and we never had an issue, although that was an LCD TV. Much difference?

Shoot your own. You can't just use something you find on the internet without permission. Copyright exists whether it says it or not. You also aren't likely to just find a file you could use in editing anyway.

Keep dreaming Tim.

The fact is, is that it's happening anyway. Why argue about it? This has all been recently discussed on here to death, by the way. And to repeat a great point: Short of the Landmark and Arclight theaters near me, I see no other theaters in the area able to properly project film anymore, anyway.

How the grade will happen is a little up in the air still. With the absurd budget issues, it will likely be via some Magic Bullet software with myself overseeing it directly, which is good in some ways but I am no colorist so it will take a while. Renting a real monitor will be the biggest expense. Hopefully this scenario will change but plan B, or C, is the usual.

I personally don't feel that it's worth the trouble people go through to try sound with loud cameras; it ends up becoming a very distracting issue when it should be your last and it will surely rob the story of something in the end. Why bother doing it at all in that case? Aaton's and older SR's are so cheap now that if I were you, I'd rent one for dirt cheap for a weekend short. I got a quote for $3800 total for a month with primes not too long ago. Or save up and just buy one and learn that way, and you'd also have a feature-capable camera for something more serious later on... assuming you want to deal with owning a camera. They are all generally money pits, film or digital.