Elias Haswany

you're spot on, Aileen I have the same ice saddle bags, and will be counting on those... RED should have engineered a passive radiator built into the housing, right below the top handles. maybe someone would pickup on that and make it as a retrofit. Elias

thanks guys, the real test is two days, will keep you posted on all issues regards, Elias.

since I am not recording audio, the fans were set to Hi. besides, we will be rolling at 120fps...

I did a small test today, ran the camera at 41 degrees ambient, with both LCD, viewfinder and red drive connected and camera rolling... after about 50mins the camera reported temp Hi... but it did not stop recording.. I gave it a 10 mins break, afterwards it ran for about 20 mins before it performed a reboot (not necessarily heat related), after the reboot, the battery was at about 23% so I decided to replace it, ran the camera again for thirty mins, it reported temp Hi again, but did not stop recording. at this stage there was no more point it torturing the camera further and that the next step for me is to get a mobile air-conditioning unit and keep it next to the camera whenever possible. surely, I will, as Chris suggested, check the PL mount screws, as a routine check.. regards Elias Mena based DP

I am shooing four days exterior in Doha with a red camera, the temperature in the shade is 41 celcius, I asked for large ventilators for the camera and crew, Do I need to worry about backfocus issues when the camera heats up to these temperatures? or have I got other and more pressing worries ahead? Elias Haswany MENA based DP

But a window is not going to "blow-out" faster on Super-16 7218 compared to 35mm 7218. If that were true, Vision-2 500T '18 would be super high-con in Super-8 and super low-con in IMAX! The only difference, as I said, is that there may be some residual fine detail in extremely hot or dark areas on the larger areas that can still be seen on a larger negative, but don't register as well on a smaller negative because the grain size can't resolve the detail. In terms of color depth or complexity, yes, it seems that a larger negative can resolve more subtlety in colors because they devote more grains to that color -- so a patch of wildflowers in Super-8 in a wide shot may render as a blob of yellow, let's say, but in 65mm, you will see more variation in colors. But this is only true of real-life objects made up of a variety of subtle color shades, not a single patch of a single color like on a chart, which should render the same in different negative sizes. Also one should mention the amount of bleed that takes place. although negative has anti halo backing (reason why all negative have black coating on back side) bleeding on the negative or internal lateral diffusion on the negative plane takes place IRRESPECTIVE of which negative you use. but manifests itself much more on smaller negs. if for intsance you have that window with a wire mesh in front and the window is way over exposed, the wire mesh will not show on 8mm or on 16mm but might come up on larger formats, simply because the hilight or the halo effect of over exposure will cause lateral diffusion to eat into the information closest to the hilight. Hope I have not complicated it further for Saleem... by the way I have heard of some dp's who asked kodak not include the anti halo coating in their negs, kodak will gladly remove it for a fee. Elias Haswany Mena based DP

it is not only about frames per second, it is actually about shutter angle. I understand many cameras can do 1 fps, but may not be able to keep the shutter open for the duration of that second (obviously there is no real shutter in HD) in order to capture the streaking tail and headlights. your best bet is to actually do this in post... many techniques I have used do the job very well, for example in FinalCutPro many filters will do the job for you. otherwise any filter that reduces flicker, or even better a noise reducer cranked all the way up, will produce the effect for you... I would post this question in editing and postproduction as there seems to be very few able to reply to your question.. regards, Elias Haswany MENA Based DP.

Hi All, I have a problem the the panasonic DVCPRO HD Varicam, while using the HDC27 camera in standalone, time code (and other viewfinder information) can be superimposed on the hd signal coming out of the camera. when using the HDC27 with the EC3 remote control (a CCU type of device) no timecode can be displayed on either HD output, although all menu and set information is displayed when you enter the setup menu. how can I fix this problem? it is very annoying... I appreceate any help Elias Haswany ehaswany@inco.com.lb