Alfeo Dixon

The benefit of shooting 1.78 for a 1.85 frame is that you'll have a bit of relief on the top of your frame to watch for you boom guys entry. I would shoot a framing chart and I'm not sure if you can put custom frame lines on the F900, I believe you can.

pCam update: From: Eubank David <biz9@me.com> Subject: pCAM for iPhone update Date: Thursday, 15 January 2009 11:40:44 PM EST To: biz9@me.com You are receiving this message because you asked to be notified when the pCAM version for the iPhone would be released. It is close to being finished with all 14 apps (calculations) bundled into one and I HOPE to have it in the App Store in February. To satisfy user demand I had wanted to release with just the first 4 apps, but I ran into iPhone memory problems and for the past 7 weeks have been dealing with workarounds for iPhone's poor memory management. Once I discovered the memory issues I felt I had to make sure it could even handle all of the apps and that is why I'm waiting for all to be completed. I just hired another programmer who is working every day on it so I'm optimistic. The iPhone was designed to handle simple apps that do one or two simple things, but pCAM has 14 apps with graphics, a Field of View Preview with Open GL illustrations, several format and aperture pickers, custom CoC, custom filters and custom formats, so it is dense. The iPhone device itself has memory leaks from other built-in apps that run in the background and after a while it runs out of memory and crashes. If you've played around with many of the other iPhone apps I'm sure you know what I'm talking about. I apologize that it has taken much longer than expected and I hope to have it finished soon. Believe me, I've spent 6 months and $12,000 already and I'm ready for it to be done! Thanks for your patience. David Eubank That's it folks, just got the email this morning, sounds like it's going to be one hell of a program, after all, I used pCam & pCine for years... this time I WILL be buying it Thanks to David Eubank for your time and efforts for a great program!

sounds like a post production screw up. CYA and stick a slate in the shot and clap it so they don't come after camera dept. Redundancy is the best protection from Idiocy...

If done correctly, no. The exposure should be a constant between the different looks. Don't get me wrong, I love the organic changes and I really love the fact that it was out of the box, but the execution fell apart for me. If timed better where the camera was in tighter on those other looks not showing all the cross shadows would have been killer...

possibly cleaned up in post for the full white look, but its all in-camera lighting. Only two good looks for the wide shots, the circle spot look and the full white... yawn... I love the grayed out look of the closing images with the key from the left and the back quarter edge from the right, but it doesn't work well for the wide shots, lots of crossed shadows which doesn't make a clean look on the floor. Lots of unintentional flares and a few of the full white syc shoots are kicking back into the lens and washing out the blacks. A bit sloppy for a near one'r.

not yet... holding out, Wide-Screen may be doing a version of SunPATH for the iPhone. But atleast I know what to get when I do need it (as long as I got cell signal or wifi). I have SunPATH on my Mac and can always print out for scouts and production days.

if you can get one to fire with the camera, I would look into using the old photo slave technology which means you have to step up to a pro-consumer unit that will take a sync cord. Just plug the slave into the pack instead of the sync cable and make sure it sees the main light. One trick we would do is pull the slave into an stinger and put them closer in the line of the main flash.

Focalware

You know, unshaved, unbathed and untamed like most of us look while not working or interviewing

who the frack is Mr Rogers??!? :huh:

while on the topic... has anyone had success with iTunes Store M4V? I downloaded the series I worked on and can't get past the DRM. Mac running 10.5.6 I use both Handbreak and DVDxDVPro, but HandBrake works best.

Just the opposite. What David is advising is you set your meter (rating it) at 1250 or 1600 and the notes to the lab are to PUSH 2 STOPS and thats it... (500iso -> 2000iso) By rating it at 1250 or 1600, you are actually over exposing the the 2000 iso lab push by approximately 1/3 stop to give your exposure just a little bit more bump.

Loved Babel. Crash was by far even better. But Tarantino was the first director I noticed with Pulp Fiction, that had this sort of de-structuring of the story line that kind of put all of it in a hat and pull out the scene that comes first feel. I think it really helps to pull you into the separate story lines and subplots a bit easier when your not attached emotionally to the chronological order of a story. Does that make sense?!? Need coffee...

Correct, BUT if they did need to reference to the "backup" audio and the camera's timecode was not jammed or was incorrect, your covered and they will not be able to blame the camera department.

I just skimmed down the post, but just wanted to ad.. Sometime with animals, kids and the occasional very intense scenes ask about getting a head id of the slate and doing tail sticks... and for god's sake don't use your outside voice if you don't have to... tell the boom guy your gonna do soft sticks. Nothing worse than getting the evil eye and blamed for an actor that just can't cry or the squeamish dog running off the perfect mark that took ten minutes for the wrangle to set it. Digital P2 type shoots will acquire a single file for each take, so head id's don't really go over well in that regard because it's recorded to a file its self and not with the actual take, unless you id and keep the camera rolling. Also, it's nice to see the slate in the thumbnail of the files. The way that is done is having the slate in frame and focused before camera is rolled. Sometimes sound guys are looking at the monitor waiting for the slate before they will roll because the audio is on the camera's file. Last one is ask the operator if your gonna be safe ducking into a suspect corner, infact don't even try it... just get clear of frame quickly unless you got nowhere to go... but ask nothing worse than to see the AC hunched over in the shot. ...GOOD WOOD!!!

This is relative... Now it's not wider, but the aspect ratio is longer, there for allowing for wider compositions maintaining the same vertical framing height. Those changing to wider lenses or moving the camera further away from the subject than one would for the same vertical frame as a 1.78:1 frame. I've always hated the term crop since I first started photography, because it implies that the framing was not exact.

Your blocking will definitely be a lot looser. You will start running out of top and bottom of frame before you ever get close to getting too tight on the sides. Play your singles a bit more to the opposite of the eyeline, i.e. if they are speaking left to right, then play their right shoulder against the center of frame or cross hairs. Try longer lens choices if you have them and use a greater distance from the subject if you can. Don't rush your pans or movements in establishing shots, a lot more information to use as eye-candy and use the space with some great movement from the actors... hopefully your director will feel you on this. Just a few tips I could think of.

Contact "Mirror Flashback", By Gregory Lundsgaard This is a great shot that involves leading our actor as she runs through her house, up the stairs, ending in the bathroom for a surprise effects ending. The shot was filmed normally and flipped in post to achieve the mirror image. The actual bathroom mirror was replaced with a bluescreen into which the original shot was superimposed. Operator's Commentary Quote from Carin-Anne Strohmaier, 1st Asst Film Editor I'm so glad so many liked this shot - this was one of Bob Z's favorite in the show. Having had to do the counts for this optical to Sony Pictures Imageworks (who deserve the credit for the final look) this was how it was done - a Steadicam person with the Vista Vision camera strapped to his chest ran backwards in front of Young Ellie as he goes up the stairs and down the hallway - there was a speed change - we ramp from 24 to 48fps (though I can't remember exactly - we could have ramped through three different speeds) - by the time she stops and puts her hand to open the medicine cabinet door ("A" plate ) - we are then inside the reflection. The medicine cabinet was the "B" plate (second plate) and then the door closes and we have the "C" plate (third plate) which was the reflection of the photo of Young Ellie and her dad. By the way - the first time we received this CGI shot as a final (completed & ready to be signed off) Bob Z noticed that the picture frame did not match the one in the Arecibo Puerto Rico bedroom with older Ellie and Joss so they had to have an insert crew reshoot the "C" plate with the correct picture frame and re-composite the shot over again - not an easy thing to do since timing was critical in getting everything to match up. I also liked to give our Avid assistant, Orlando Duenas, credit since he did the initial line up of the shots in our cutting room which Sony Imageworks used as a guide. Shot Elements Visual Effects Running Stairs from Steadishots.org

Dagnabit... I hate perception sometimes, but then I would hate my job... I LOVE perception

Nope. I'm speaking about a source that could possibly be just over the plant and the red banister giving our edge to the actor from the left. The ceiling is in the upstage of the frame but is also great to c-clap onto with the rafters exposed, lending itself to easy rigging just above frame. How 'bout it Jamie? anything in the zone?

Click the photo and it will take you to a larger photo and if you click that one I was able to view it full screen and then able to zoom in by click on it a third time. My guess would be the instrument that is giving her the edge... the flare it's self is your clue, it looks like the light is inline with the door from the camera. Probably peeked into your matte box and wasn't caught by the grips or your op.

Yes and if your scene is needs a cooler tone to it then your there. Lets say you need a warmer tone to the story, then go for the daylight and let the tungsten go warm (or balance even warmer than the daylight). You can even spit the difference or somewhere in between. This is your time to create a feeling and ad to the story.

This is where art enters, it's a matter of style, preference, mood, color palate and on and on... lets not leave out gut instinct.

by normal, you mean normal processing for reversal film, but still pushing 2 stops...

Just curious of what the effect you where looking for by crossing Tri-X. Most X-processing is for color shifting in to an abnormal color spectrum.