Chris Keth

I actually heard of a very big, popular show that needed a single picked up only about a week before its delivery deadline. The director shot it with his iphone and it aired in the cut of the show.

Kind of entertaining but that crap would get you fired on some shows.

Because if you can do it in one image, why do it in more?

Usually it's not your choice anyway, you do put whatever the script supervisor wants onto the slate. The sound mixer will slate his own audio so you only need to say "A mark" and hit the sticks. If it's more convenient, you can common mark and that will go something like "A B common mark." If you're generally rolling multiple cameras but only roll one on a shot, you might want to call it "A only mark" just so it's known that B didn't roll. The straight scene number (Sc. 10) is usually reserved for the master (whether or not it is the first shot you actually shoot), then subsequent shots will be 10A, 10B, etc. Not all scripties do it this way but most do.

Cool. We have it figured out this time, but that's a great place to know about. Thanks, Mikael.

Hey everyone. I'm on a show in Detroit and were looking for a vary we can rent on the days we have an additional camera. Anyone have one we can rent or know any leads I might try? Chris

Depth of field adapters are so you can open the lens and not have diffraction.

That's a difficult question to answer and I've never been able to do proper tests to find out. I have noticed, and it's been supported by other ACs experiences, that focus just seems to fall off faster on the RED as opposed to film and other digital formats where the sharpness is often dialed down to look more like film. It should be a function of lens, but the high edge sharpness definitely affects our perceived focus. The next time I have a red in hand, I'm going to do a quick newspaper test and see if the depth of field the eye sees is the same as what is calculated.

No. All lenses will have some parts in focus and others out. As Al points out, there are very, very wide lenses that have so much depth of field, they effectively do not need to be focused. There are also tricks that can help bring more of the scene into focus or bring key parts of it into focus. See this wiki on the sheimpflug principle to read about the most key of those tricks. The scheimpflug principle governs how we use tilt-shift lenses and bellows systems (including lensbabies) and how still photographers use view cameras.

That's pretty awesome. I bought the iphone app.

Very true. For (your, not the) image sake, it is a good idea to mark the threaded frame after all.

By the way, you don't even need to mark the first frame as long as you fill the frame with whichever test pattern you prefer. You might double expose a frame line in the middle of the frame but the purpose of the test will still be perfectly valid.

There's media match but I don't think it's worth it. Reality staff works OK for reality work. For the most part, any work I get that's worthwhile comes from personal contacts and referrals. I've never got anything very decent from a posting website.

If you want to allow interesting blocking and have the movie be in focus, rent cine lenses. If you're satisfied with either interesting blocking or being in focus, then still lenses will do fine.

I know and work with lots of DPs who color correct their work and I don't know a single one who consistently gets a signed contract that stipulates that he MUST be allowed to be part of color correction. Where so you get the idea that lots of DPs have that in their contracts? It's certainly not common here.

It's a very, very good way to learn the non-motion based aspects of cinematography. The cost shouldn't be much as long as you're careful when you shoot. Snapping tens of frames in a few minutes won't teach you anything.

Jeez, I can't believe I just read right over the part where he said it would be a red. Like Brad says, not a great handheld camera. The best thing I've found to do with it is velcro a dense gel wristpad for typing to the bottom of the camera. Undersling the batteries (and drive if you're on a solid state drive) in back and extend those top rods to help the balance, as long as it doesn't make the camera too long in back. Brad, have you ever used the century lightweight zooms? They're only prime size but I expect there must be some image quality compromise there.

Remember that to record a decent image you'll be stopped down and, unless you're on a panaflex or something else with a behind the lens filter slot, that will also dim the image in the viewfinder. You'll be fine. Hundreds of people watch those launches every time without problems.

Also, it's just plain fun. :D

And, not that it's ever my choice, I prefer when I can ride to pull focus. Having that perspective change for myself helps see when the camera hits the marks I measured. It's really tough to judge that from the ground sometimes. It also means I have to rig less stuff- no remote start/stop cable, no long cinetape cable, etc.

Zeiss variable primes aren't zooms. They are built to be used at specific focal lengths and moving between them will cross areas in the lens that aren't suitable. They are also on the large size for handheld work. What format are you intending to shoot? That makes a big difference in the possible handheld zoom options. As for controlling these things, your 1st will be happiest if he at least has remote control of focus with a preston. Motors can be added so he has zoom and/or iris control as well. Giving his zoom control will mean that any focal length changes will need to be rehearsed. If you want a more frenetic style where you punch in and out more freely, I think it's best that the operator have manual control of the zoom. You can ask your 1st to get you a zoom stick at prep that a lot of people like for that style.

If you used a 7D or a 1D, your worries about vignetting would be over. You would be using right about the intended sensor size with a little extra on the sides to crop away.

I was at woodland hills yesterday and spoke to Bob Harvey and he showed me that panavision already has a mounting system that lets you use their lenses, follow focus, and accessories. They won't rent it out widely, though, because it tends to further the undercutting of a lot of their business. They want it to go with packages as an insert camera or go out if the director or DP has a really good relationship with panavision.

I'm going to be pulling focus on a anamorphic feature starting monday and I'm told we're shooting the very last of the factory 5231.

I'll have to go to my storage locker for those notebooks. Back in 12 weeks (it's a very safe storage locker).