J Lund

Does anyone know what settings are needed when printing to tape on the aj-sd93 "shoebox" from Final Cut Pro? I shot in 720p @ 24p. Everything seems right except the AJ-sd93 does not seem to recognize that there is a video signal being sent to it. Is there a specific video setting needed? Sorry for the brevity of my question, I'm usually more articulate and descriptive- but its finals week and this is crunch time. Thanks

If there isn't already, I believe there should be a sub-forum dedicated to 35mm adapters for DV. (If there are discussion boards about these please steer me to them, because, for the life of me I cannot find them) Adapters such as the Redrock Micro and the P+S Technik Pro and Mini 35mm lens adapters are definately a valuable tool for digital filmmakers to use to bring the playing field of the digital medium much closer to that of film. So, if possible, can we create a sub-forum dedicated to lens adapters for the digital medium? Thanks, Justin

Yes, I was just about to suggest the VS (Vittorio Storaro) collection from Rosco. Definately the most saturated, reacting specifically with how each level of emulsion reacts with different colors. The VS Cyan is a beautiful color and you can see it used often recently for moonlight in newer horror films, specifically High Tension, and even Baby Blues (a feature horror film I had worked on this previous summer!) But as Mr. Bowebank had said above, they are saturated to the point of theatrical lighting but definately read well on film.

After reading the article in American Cinematographer and seeing The Black Dahlia on the big screen, I definately was routing for the veteran Zsigmond. It is such a beautiful display of 21st century noir cinematography while employing some of the most incredible crane work almost unending through vast sets. This is just such a classically beautifully shot film and I was honestly disappointed that Vilmos didn't walk off with an Oscar. Oh well, at least I was satisfied with Bebe's accomplishment with last years Geisha.

Hey, your footage looked great. Do you remember (or have) what scene settings you used for the day footage?

Recently I have read certain articles comparing the Varicam, CineAlta, HVX-200, H1, etc. It appeared and was speculated that the HVX-200 resolution was questionably less than the 1080 as well the 720. It seemed as if the 1080 res was closer to something around 800 and the the 720 was closer to 500... Anyone seen any realtime footage tests comparing such cameras. I had just shot a 20min short on 2 HVX cameras, one with a micro35 adapter with Nikon lenses... looked great. However, I hadn't seen it on HD projection, and thus far have only seen most of it via P2 card and Final Cut dailies. I am currently in the market for this camera, finding it quite cheap as of late; so I must ask: Has anyone compared footage? Anyone heard such rumors? Is it true? Is Panasonic really decieving their users and those loyal to the company?

Is there any type of equipment to attatch to a generator so that it can provide a constant stream of power for the ballast of an HMI? Sorry, I posted this in a different forum and got no responses.... the shoot date is near and if not answers, suggestions are welcomed! Thanks.

Is there any type of equipment to attatch to a generator so that it can provide a constant stream of power for the ballast of an HMI? It would have to be similar to an alternator of a car and keep a charge, feeding the power consistently. My friend suggested perhaps a computer battery backup/surge protector, however I don't feel that it would perform the task well enough. Any suggestions?

a little blown out....... exploit that depth of field.... get the background soft at the least and definately the first one..... gorgeous.... maybe, get those books soft, but regardless, it looks good

the tv gag.... i have heard every different type of solution for this lighting situation.... you could go simple to complex with this. I didnt notice if you said if your situation is day or night, so i will let you know what looks good for either. During a daytime scene when you have an ample amount of daylight, and possibly a kino box available, i suggest wrapping each of the 4 tubes in a different coloured gel. depending on how intense you want it to fill your subject's face, put it on either 4ft or 2 ft. Have someone on the kino ballast to change the light subtley (one bulb at a time)- in this situation you can make it quite noticible without distraction. if you're shooting at night, it can be much simpler to achieve a quality look with less effort..... if you have limited lights to work with, it will still work well..... take a ctb; preferably full, but if you have a half (color temp blue) gel, double it up and get it looking dark. throw the gel over a smaller light from your kit, or possibly a higher wattage practical, flicker your fingers in front of it, and watch the magic begin. <---- this one sounds horrible, but it works beautifully. finally, if you want to simulate your subjects watching something from a projector (in a theatre, screening room, etc.) use what i just described above with a slightly higher wattage light, and flicker two objects in front of it at equal speed (as if you were drumming), and that will essentially simulate "24 frames per second" from a projector.......if you have access to a dimmer that you can wire up, you can do it like the pros. the way many people do it in the forbidden land is to take a fan and attatch it to a dimmer so that you can slow down the blade speed.... almost to 24 fps.......... well, hopefully something i have said in these past few paragraphs has applied to somebody, and perhaps helped some b.s. shoot go easier than it should have been. anyway, in the words of one of the most perverse filmmaker i have ever worked with..... "keep it tender"

ef adapter - 7.2x magnification - $500...... PL mount - 2.6x magnification - $600...... 35mini adapter - no magnification - $8500........... With lens choices, prices, and magnification taken into consideration, the PL is definately the best run for your money.

Hey, Funny you should post this. My roomate and I are having a similar dilemma. Basically it is related to adapters for the xl1/xl2. The ef adapter multiplies the lens too much to make it a practical and feasable lens....7.2x multiplication? < Enough to magnify anything way too much for practicality. The PL mount seems to be the better bet for sure. 2.6x PL- only 100$ more expensive> less magnification and distortion... From our side we are going with the PL and renting lenses- easier on the pocket. Post back about your success with it

I appreciate the advice. I forgot that most of the photography, both studio and field, were silver- large format (very little grain if any). And yes- I meant bleach bypass during film processing- not transfer. Anyway, I am still going to shoot color- I just want to give it a more time-worn look. We have some camera tests- so I will try various combinations of filters.

I'm going to be shooting a Civil War film involving some reinactments, but mainly following two main characters. It is about a young man who abandons his troops, follows an army photographer around, and basically becomes his camera assistant, following in his footsteps. I am wanting to recreate the look of Civil War photography> High Contrast, grainy, etc. We are shooting color, however I want it saturated, using some color & grain filters (no sepia), but the color not to be distracting- keeping the feel of photography of that era. We are going to bleach bypass the negative during transfer to heighten the contrast and grain as well. There are going to be tests with film stocks - 7274 200T, 7212 100T, and 7246 250D. I just wanted to see if anyone had some creative advice- Mainly what Film Stock, and perhaps what filters as well.

The last time I created a television flicker was daytime interior as well. We used a tungsten balanced Kino box with a different color gel wrapped around each of the four bulbs. (each bulb controlled by its own switch) It looked nice for the mood we wanted and wasnt too harsh on the daylit interior. We alternated the flicker slow enough so that it was believable but the colors did create a stylized feel (which went with the feel of the film). You may want to try a similar set up in a Kino box with blue gels of different intensities on each light and definately some diffusion in front of it (even if you want it as the key). Since it will be a more prominent light in the scene you will want to get the pattern timing down (as Nash said) to keep it believable.