Aapo Lettinen

PLUS the framerate from the hdmi output is always 29,97fps interlaced, no matter what framerate chosen in camera (definitely an issue in PAL area). And you can get some random flicker with discharge lamps when using exposure simulation mode. But it's still uncompressed 8-bit 422, tho :ph34r:

You can't switch off the overlays w/ 5Dmark2, so you have to crop the image. it is fully possible to record the hdmi output with good resolution when in standby mode, but I can't see the point because the pixel count ends up being really weird after cropping and it's still 8-bit output. Plus you get all the difficulties of external recorders etc. With Mk3 external recording may be practical, but definitely not with Mk2 <_< #you can get about 1616 x 854 pixels after cropping when in Live view "exposure simulation" mode and about 1619 x 768 pixels when in "movie display" mode. Attached images recorded with Hyperdeck Shuttle using camera's hdmi output. :) Movie mode: Exposure simulation mode: (that moiré is just 5D2 behaving badly with the lcd screen grid, nothing tho do with the external recording)

there are also some adapters for this, never tried one but I believe they are usable :rolleyes: http://rafcamera.com/adapters-and-mounts/m42-lens-to-arri-pl-mount-adapter

key could be something like 2.5k hmi with some cto through about 6x6' diffusion almost directly above. there seems to be also some white bounce from below, not sure

Probably a 400w or 575w hmi with maybe just a little bit of diffusion, maybe 2-3 meters away. Depending on the light levels on set, I would maybe try something like Kobolt 400w fresnel with small piece of 1/2 or 1/4 diffusion

http://www.arri.com/lighting/lighting_americas/arrimax_m18/m18.html#_blank ( @ download section )

manual says TWO L4.37623.E uv-protection lenses per fixture

Nope, I just turn the lens out of the way, or take it off from the fixture if I need the barndoors. ( Our 2K :s are mainly Desisti theater fixtures, you can just open the lock and turn the lens to the side. I use these a lot because our school has dozens of them just lying around and wasting space :lol: ) Removing the lens wastes quite a lot of light intensity, I only do it when I have to get sharper shadows with these fixtures. You don't have to blacken out the reflector, tho. Fresnel without a lens is much like an very bulky open-face fixture with non-optimized reflector ;) I don't know much about US rental prices, but I'd consider hmi par as the most versatile option if lekos are not enough and budget allows. You can get sharp shadows with it, and it has enough intensity to be backed off quite a lot to remove the spread :)

I usually do this kind of stuff with 1.8K Arrisun or couple of 2K fresnels with lenses removed to get sharper beam :) (but that's mainly because I have easy access to them, that 1.8K might be kind of a overkill for this kind of scene :rolleyes: Something like a 1.2K hmi par would be nice if budget allows :) ) #with cc gel, of course...

It is very clearly an Alien prequel. It even has an Alien ancestress at the end :blink: Effects worked fine, acting was ok... even 3D was well made. Without script issues, unoriginal story, & giant tentacle monsters, etc. , would have been a pretty good film after all :ph34r:

I also just bought a Color Meter II. It seems to get readings about from 49 to 51 mireds too low, tested by measuring the light coming from a calibrated computer display :ph34r: Have to get it recalibrated, just taped 1/2 ctb over the sensor to be able to use it right away. Just have to remember it's still about +13 mireds off :rolleyes:

-plastic filters scratch very easily -surface-coated plastic filters can't stand cleaning fluids (some cokin filters etc)

my bolexes (H16RX-0, H16) are quite unsteady when filming in low temperatures (under about -15 Celcius) I usually wind the raw film to opposite direction (emulsion out, A-wind, perfs towards camera) to the reels, never had any problems w. the cameras when using these reels and the image is rock steady even at -30 C or lower :)

Now I found this guy on another forum who tries to teach me that one must open up aperture i.e. correct exposure if one moves the camera further away from subject. :blink:

I found this article interesting, maybe you want to read it too (for a lighting reference etc) http://provideocoalition.com/index.php/aadams/story/1000fps_on_a_budget/

"Why do we need color correction? The material is already FullHD!" "Only elitists shoot 35mm film anymore. 5D Mark II has better image quality with fraction of a cost. AND it has better deep of field." "I don't believe you saying that's not a good camera for this work. It's footage looks so brilliant." ( on YouTube :huh: ) ---------------------- (Low budget indie film. Shooting on 5D) DP: "But I really need those light stands. I can use the theater lights you got (for free), but can't do much with those (self-made, non-adjustable) stands. I also need some rigging parts, those lights are heavy. Renting is not so much..." "And it would be fine to get an follow focus and onboard monitor, or at least z-finder etc. otherwise we'll have huge focusing problems and have to have much more retakes. Those still lenses have too tiny focus scales for this work." "...and if I get the onboard monitor you can also use your own monitor and actually see what we are getting, 5D shuts down its own lcd if we use the video out connector" Director-producer: "Ok... can't promise anything. But I think we can also do fine without them if we get short of money" (Director-producer uses the camera budget to catering for extras, buying things he could have borrowed, etc.) (Editing the film) Director-producer: "Oh no! You lost the focus again! (take 11/12) (mourning)I don't understand why it's so damn difficult to get it right..." DP: "----" Director-producer: "If I only had my own monitor to see what was going on. I don't understand why we could not connect it to your 5D.... we lost too much time with those focus problems" "(and I don't like the lighting either)" <_<

I tested Orwo UN54 couple of years ago... only home developing to b/w neg. I pretty much liked it's grain texture and mild contrast. Looks like old low con news footage to me. I think it's worth testing. http://www.filmotec.de/?cat=23&lang=en Andec and Wittner in Germany have it, I don't know about US deals. http://www.andecfilm.de/en/e_16mm_sw.htm http://www.wittner-kinotechnik.de/katalog/04_filmm/16_filmm.php

Just got my friend's 16BL for couple of weeks... It seems to work pretty well with 12v gel batteries. these are quite cheap... but also heavy compared to nimh or nicd. I use 12v / 7 Ah batts

My friend uses Sandisk's newer extreme III 30MB/s cards and he says those are working fine w/5D2. Heard similar comments from other users, too. I myself use 60MB/s cards, mostly becourse the material can be transferred little faster to the laptop (And I always have that extra speed if something eats more bitrate than it should to; its good to be safe, though, even if it never happens :rolleyes: )

http://web.canon.jp/imaging/eosd/firm-e/eo...2/firmware.html I'm just started testing it right now. Seems like the prev jitters quite much in "24" and "25" modes. I'm also feeling the rolling shutter problem is maybe a little bit worse with 24&25. Not sure yet. Not sure if there's just a little bit of ghosting also. It's minor anyway if there's any. Post your results when getting your hands on it <_<

Have not got the vid tap yet, but here's the prism system:

Sorry guys my cgi sucks ;)

the film was maybe little conical or there was some problem with the counter. The film made up too much resistance and the sprocket wheel ripped the perfs....this happened with all cartrs. as I remember, my cores were that 15.8 / 2mm type. I have to service the mags again and check the problem. #as I remember, the K1 cores have bigger inner hole than K2 cores. the mags are little different anyway and can't be switched betw. cameras without modifications. (K1 camera has bigger aligning pin)

those K-carts are very useful if you have to switch between stocks very often during the shoot. single cartridges are lot more easier to handle than 2 daylight spools which have to be handled and stored together if you don't want to cut your neg into pieces <_< I tried this switching method in Norway last year, I had 50D in some mags and 500T in the other mags. When I needed extra speed I simply switched the mags. My K2- mags cant handle more than 20m of film without problems. In Norway I used 15m loads :unsure:

I just made quite a LOL modification to my K2. I am going to take a videoassist image out of the light meter's beam splitter... when I get the camera module in place I'll post some pics. the 3-prism system which reflects the WF image out of the front housing is already in place :P