Aapo Lettinen

that's a good advice :lol: I also recommend that the 'real job' is somehow related to film/media industry so you can make good contacts at the same time. though it has the disadvantage that people may learn to know you only as an AC or Editor or Best Boy etc. without knowing that you can actually also DP and it may be difficult to change that later

never used the HATO paint, here they normally use either Rosco or if on budget or making temporary painting they can use cheaper household paints and mix them to get the right color. that works actually quite well if you have time to experiment with it, if you are making student films it is good to have the option to repaint the surfaces if needed without breaking the budget and you can also make temporary stuff from kapaboard or cardboard etc. , like boxes and planes, to assist shooting

the expensive version includes the cardboard box of course. if you don't need it you can as well use the cheaper option :lol: http://www.thomann.de/gb/rosco_cinefoil_mattschwarz_61x762_cm.htm?ref=search_rslt_cinefoil_147420_0

in Finland it costs, depending on where you purchase it from, something like 100€/gallon plus VAT and it is in EU so the huge price difference must be due to shipping costs. the Amazon.it may have some non-ideal shipping calculated in price or it may just be a rip-off. Like when they are selling Cinefoil here in Finland for 5 - 10x the price that Thomann charges for a roll of the same stuff :blink:

that 45$ attitude is very common in eBay, I usually try to take this into account when dealing with Chinese sellers. trying to find a solution which is equally good for me but costs them less money so they would probably choose that option. And keeping in mind that I may lose contact with them if they think I'm not a valuable customer for them anymore, so always giving an impression that there was a error in post office /packaging department which was not their fault and they can easily correct it and resolve it later with the faulty department/post office etc. and I will surely order more stuff later if they just resolve this one misunderstanding :lol: overcharging for damaged/lost equipment is not uncommon here either but quite rare, can happen with private owners but usually not with rental houses. the most common way is that they charge the full retail price for missing equipment (price of a new item, not a heavily used one like the missing item was) and never buy a new one, just leaving it off the kit entirely if it's not absolutely needed. Thus they don't get 45$, they will get full 50$ for a item worth maybe 20-30$ or so. I believe that's what the Chinese company is intending to do :rolleyes:

btw is the any possibility to switch the auto correction off from user settings, it always fails with my posts and leads to more typos than what where in the original text :blink:

if the goal is to make a future proof image archival format which does not need any regular migrating work the only possibility would be to store actual human readable analog image on film, not any kind of digital data which needs translation or nifty equipment or codecs. always someone is stupid enough to lose everything we know about compression methods and formats and then they can't figure out how to read a file even if it was well documented in the beginning. You can make a format SOMEWHAT future proof but you can't make it idiot proof, thus it is always a good idea to make a archive format that is as easily readable as possible. one can make a film scanner by oneself relatively easily compare to for example a VTR so someone handy will always figure out how to get the image out in usable form from the film :lol:

You don't actually have to migrate every time when the LTO generation changes, you usually migrate over one generation (the system has backwards compatibility so a LTO7 drive can read LTO5 tapes and read+write LTO6 tapes) . You may have to verify them every now and then but that is not labor intensive, it just takes lots of time to read all the tapes in the archive. LTO is serpentine writing media, meaning that it has many tracks (depends on the standard how many in total and how many are used for read/write in per pass, "wrap") on the tape which means it writes for example 8 tracks in one direction in high speed, when the tape ends it write the next 8 tracks back to the other direction, and so on. this is to reduce seek times. for example with LTO5, it takes about 3 minutes for the drive to read or write about 830m of tape to one direction, then it changes direction and write back to other direction, making 80 passes in total if writing all the tracks. If you'd have a tape breakdown a specialist would probably still be able to restore most of the data because the tape addresses are in the catalog file and the servo bands are otherwise intact than at the breakdown point. If it's a large file you would lose lots of small fragments of it but most of the data could still be read probably. with film you would also lose data, usually worth from one to three frames which of some could maybe be somewhat repairable with very careful splicing and intensive post processing of the scan

some viewers may refuse to watch a program if they know it is lower than UHD or 4K resolution. If nobody tells them, they probably won't notice at all and will gladly watch it and enjoy it ;) just like with 3D, people think they will get something more out of it all the time and thus choose the 3D version even if it's worse than the 2D :blink:

mostly talking about LTO archives generated with for example BRU, the LTFS standard is not future proof even in 2 year time scale so it is not a good idea to use it for archiving <_<

I think LTO tape is the only viable tape storage medium at the moment for large amounts of digital media, it is so widely used in wide variety of fields that the world can't afford losing those archives and thus considerable effort is made to preserve the systems and to ensure reliability. It is quite different with niche tape formats like D6 which is not so old standard after all but very few recorders were ever made and most of them are lost already, so you are basically quite screwed if you have mastered anything to D6 and need to read those tapes in the future. I would say that LTO in the most future proof format like original camera files + TIFF + prores and combined with film separation prints would be the most reliable option by now. Cloud based systems are great but need much more maintenance than tapes generally and may cost more per TB depending on configuration and how much you use the tape system

I would not put the F65 to the same class, it is a more traditional digital cinema camera with more practical sensor size than those oddball ones. With a cinema camera you are always a bit screwed if you can't use all the lenses you would like to, thus it is usually better to stay on the closest standard rather than trying to make a new one. this is especially true with lens mounts. As far as I know The Hobbit was shot on Epic because of the 3D rigs, large amount of cameras used and because Peter Jackson was/is a supporter of RED so he could have great service and pre release models for the shoot. I think it was a good choice considering the production as a whole. however I was very disappointed with the colour rendition in 3D hfr release, I watched the last 2 movies in 2D because it is just so disappointing to watch a fantasy film without colours :blink: it was not theather's fault as far as I know and definitely not camera's fault (the 2D versions were fine as well as the 3D version without the glasses on) so maybe the 3D was not a perfect choice in this series I think :ph34r:

at least it is aimed to be. We well see how it works out but I think Panavision has kept the standards pretty high as usual ^_^ about the RED sensor VS Arri sensor, I think one can just treat them like different film stocks, like Fuji vs. Kodak. that is quite good analogy actually because the Red sensors have traditionally had more crosstalk and harsher highlight handling and because most of the people seem to prefer the "Kodak look" of the Alexa because of the colour reproduction difference and more pleasant "grain"

yes there is, I don't have a camera around at the moment but it can be adjusted and will slow down during the takes. it's just that it will then vent out even more heat between the takes so it may be even noisier then but that is usually not a problem though you will occasionally get complaints about it for no reason :rolleyes: but with a relatively small digital camera with huge heat generation, you can't keep it silent all the time, especially in hot conditions. it would just melt then ;)

I think they mean the sound between takes when the camera is on standby. Never used the Weapon so don't know how it handles things... but generally if you have a small camera body with lots of heat production you just can't do it any other way if you have to fit the fans inside the camera body (which makes them small and leads to the hairdryer sound when they are in full power) . The Dragon sensor is a major update over MX especially colour wise. and in the Weapon they also fixed the annoying filesystem if I remember correctly :lol: I'm not sure what you mean with "thin negative", a latitude distribution issue which leads to underexposing according to the working ISO to protect the highlights? digital cameras may have a bit annoying shadow/highlight dynamic range balance and it is quite normal to underexpose a bit to make up with that if a camera has ugly clipping. it becomes a problem if one gets too much noise when correcting it afterwards, otherwise not so big deal generally... I hope the Panavision thingy is RELIABLE in use. I'm sure the images from it are great or excellent but we'll see how it compares to Alexa 65 :)

that's a valid reason of course but if it is the only argument in discussion and only criteria when choosing a camera it sounds very unprofessional and a bit irritating at times :mellow:

reliability, ergonomics and post workflow are the things which often go missing in forum discussion. I don't fully understand why because they are among the most important factors when choosing a camera for a production, especially for professional shows but also for low budget stuff and indie shorts. That's also why I noted that the Alexa would be wonderful camera for a indie shoot but you have to ramp up every other aspect as well to get it working: heavier tripod and head, more sturdy grip equipment like cranes/sliders/etc, heavier steadicam/whatever you use for stabilisation, not useful with gimbals, a bit heavy for handheld.... and if you want to shoot raw it is quite demanding for the DIT because of the bit rates and slow card readers. and thus also more expensive to backup and do the post. Epic could work better for raw if choosing correct compression ratio but it transfers the nightmare to the colorist and other post personnel. maybe it would be easier if comparing film cameras, like why one would shoot a scene with a Arri 235 instead of a blimped BNCR, because they can have exactly the same output look so one can really concentrate on other aspects without bringing up arguments like "Alexa has better look than RED, I don't want to use RED for that reason" ;)

I would rank the Alexa quite low on the list for indie shorts because of the weight and form factor. something smaller and lighter like F5/55 or Epic is much better so that it is faster to work with (if you can stand the codecs and menu nightmare) and you can save on grip equipment if needed. If Alexa Mini would be included it would probably rank quite high on the list. I would not shoot raw on a indie short unless those shots where it is absolutely needed. even the bigger productions don't usually shoot raw because it is not economic in contrast with the image quality difference in 95% of situations. it does not make up for bad lighting either so I would stick with proves/xavc/compressed raw

hmm I found a 2013 dated sheet which says the main ingredient is GLYCERIN. looks like they have changed it multiple times (quite hilarious when you think of it, mineral oil=hazardous, glycerin= less hazardous, glycol=even less hazardous...) . weird that they kept the product name intact despite they completely replaced it multiple times, I think it would even be illegal in some countries :blink:

are you sure you have the correct sheet, my sheet says clearly that it is mineral oil based?

yeah a glycol based hazer would be better option and probably also cheaper to use. (a common trick is to add distilled water to smoke fluid to dilute it enough to get reasonable quality haze fluid, is cheaper than buying dilute hazer fluid of which most of is water anyway. but the hazer manufacturers may not encourage that practice) glycol based hazers are quite harmless unless you have bad asthma... the main ingredients are ethylene/propylene glycol and distilled water

looks like oil based according to the msds: http://www.elationlighting.com/pdffiles/HZL-1%20(OIL).pdf

one problem with the Red One is that it blows hot air right to operator's face when shooting hand held, very annoying. you can set the fan to slow down during takes if the ambient/camera temperature is not too high, it's in the menus. the camera generates lots of heat so it is necessary to cool it whenever possible, thus you can't keep it quiet all the time

I would buy it all at once if one can save that way, your shooting time is so short that it should not affect the stock at all if stored properly. remember to store in stable temperature. if you are shooting tens of thousands of feets it may be more practical to have it dispersed to you as needed so you don't have to arrange lots of fridges and worry about the storage expenses. is it 16mm or 35mm and which roll lengths, 100ft/400ft/1000ft ? I like the ORWO grain more than Kodak but that is a matter of taste. I am now testing stills stocks with my Konvas, will find out if there too much halation and static electricity issues with them. that works only with 35mm of course and is still a tad expensive. it is also limited to 100ft rolls which is a bit impractical at times and have to spool the films to different core before filming

I think Blackmagic has about the same company philosophy than RED had couple of years ago: they don't care about customer protection and reputation that much so it's natural for them to ship out a bad product and fix it afterwards. remember the Red One days when you had to carry two camera bodies all the time just in case the main camera decides to have a sudden firmware error and does not boot up? Black magic is in the same phase with their cameras now. Of course the low budget guys don't care as long as the product is dirt cheap... maybe their software division is only one person who is most of the time working with Resolve updates so they have no time to make usable firmwares for cameras even when they always ship their cameras late because of "Sensor Issues"? don't get me wrong, I love Blackmagic products, I just hope they were much more reliable out of the box without waiting for delayed camera releases and AFTER THAT hassling 2 years with constant firmware updates to get them working correctly. I suggest purchasing two Ursa Minis so you'll have a backup body WHEN everything goes wrong in the middle of production :lol: