Mark August SOC

What show are you on? Or contact Panavision HD service to help you.

Mark August

Panavision Hollywood

Hello.

 

I know, pretty raw question. I'm a filmmaking student (wow, lucky me :P) and I would like to start gathering some knowledge about cameras. Where should I go? Like, would you advise me to stick around on these forums or would you say they're too advanced for me?

 

Let me explain myself better (maybe that'll help), I don't even know which brands are good or why they're good. I don't know the difference between ARRI Film & AATON Film. I have no clue whatsoever.

So assume I have 0 knowledge but I'm willing to educate myself. Where do I start? With what?

 

I have some knowledge about photography, I know about lenses and how they work and such. But I wouldn't call myself a professional, at best a amateur.

 

I would really appreciate your opinions as to how I should start learning about this. Consider me a blank book that I need to fill, it needs to be logical and efficient. I will handle the self-preservation required in order to keep up with technology as it advances.

 

Thank you for your time, I hope this makes sense.

 

Peace.

Panavision has a libary on our website with Camera manuals and great source of information. at www.panavison.com

All the best,

Mark August

Panavison Hollywood

If you would a Camera Aperture and Image Formats the below link should be of help.

http://media.panavision.com/ReferenceLibra...atSpecs2008.pdf

If this link does not work go to www.panavision.com and click on "media Center" >Reference Library > Techinical Reference > Format Specifications... the chart is in a PDF format to save if needed.

The Format for 2/3" CCD with a Aspect ratio 1.78:1 the dimensions are .3775 x .2123 in or 9.59 x5.39 mm 2/3 CCD area or 51.7mm

for a 2.40:1 Aspect ratio the dimensions are .3586 x 1500 in or 9.11 x 3.81 mm 2/3 CDD area for 2.40:1 or 34.7mm

Mark August, SOC

Panavision Hollywood, CA

I am looking to do some research and tests to learn more on the workflow of the Genesis.

 

I was wondering if anyone might be able to post a link to an PANALOG file from footage they have (If thats even possible). a quick 30 sec would be perfect, just to have something to work with. I have everything I need except the footage.

 

Thank you.

Jesse,

Here is the information you requested. Please go to the Panavision web site (www.panavision.com) and you will see a link to our "Media Center". Within this page click on "Advanced Digital Imaging" from here click on Panalog Information & Resources and then Panalog explained. You will also see alot more like Panalog test images too. Good Luck and happy reading!

Mark August,

Panavision Hollywood

Here at Panavision Hollywood we just finished a RED job using our anamorphic lens with the build 18 and no known issues coming back from the camera crew or post. I would shoot your know test and work with your post house.

Mark August

Panavision Hollywood, CA

Hello,

 

I'm thinking about shooting my next RED project in anamorphic. This is something I will be testing, I'm curious about any experiences shooting in that configuration.

It would seem that the only advantage in doing this would be to get a shallow depth of field, hence a softer image, not sure that increase resolution is achieved since using the full chip in 2.35 might be better than that. I'm wondering if shooting wide open with super speeds on spherical would be comparable.

 

Any comments or suggestions are appreciated,

 

Francisco

Thank you Mark and Steve.............that is extremely information for a bigginer like me. Sure i will take care of these things.

 

One thing more that i want to know. I shot this shrine which almost 4 hours drive away from my place, and we shot all day. We reached there at around 12:00 pm, which is worst time to shoot, but we had to because we couldn't afford to stay. Should i always plan my shoot before that sunny time; i mean after 3 pm or before 11 am; which are times when light is not that even and falls from an angle. So should i wait and plan my shoot before these hours?

Malik,

If you can 'shoot a test!' The light in the early morning on a clear day can make for some wonderful colors going from a dark blue into these great reds into yellows with natural light. Get up two hours before sunrise and watch the ski (with a cup of tea or coffee) and the if you have a light meter just watch how everything changes around you. Then ask yourself, "How can I get this on film or video?" Then shoot a test and make notes to see how to get that look you want! It can be fun and you learn from it! Once you have that, set up a time it get your shot of the Shirne with great dark blue to warm colors and show the viewer your images in a diiferent look of the shrine. Plus your day will start early and end early!

Most people do not stop to look at a simple thing like the light in front of there face. Your job is to show it to them! Not many people are looking around at early mornings to watch the lighting and seeing the colors around them when there on there way to work! Look for the beauty in the area your filming to show some harmony and attractiveness in your images with the light!

Good Luck!

Mark August, S.O.C.

Hollywood, CA

I was shooting the documentry, and it was decided to shoot all natural. There were comments from people, shooting buildings, shrines. I was using Sony DSR 450p, and a big part was shot hand held. I had problems during the shoot, as there were lot of people, a rush situation. I was shooting the comments of a singer and i was constantly pushed by the people around.

 

I want suggestions shooting in such conditions. I set the camera to auto mode, and shot almost on auto. ON couple of interviews i made the manual settings by setting the white balance and other settings, but what should i do when worst conditions are there? Should i shoot on Auto? What should i bring with me during the shoots? I was shooting on a sunny day and at time which is concidered wrong for shooting.

 

Another thing, i was shooting 2, 3 minute interviews standing, i had my camera on shoulder, and i was very much tired, actually i was on a ockward position, and i took a heavy breath as soon as i stopped recording. Are there any exercies or positions while shooting handheld, or shoulder?

Shooting documentries in the worst the conditions will in the end make your a better operator! I would be careful on shooting all auto when your 'Running and Gunning'. My suggestion is learn basic photography and basic natural lighting. When you think you have it down, take what you have learned and build on that! Learn to rate your camera's ISO (which by the way is Tungsen based 3200k). Never! Never! Keep your camera lens on auto foucus or auto iris when recoding a interview. If you do! You are setting yourself up for many mistakes.... I have make the mistake myself and the interview is going great and then, he or she moves just a bit during the interview and the camera foucus's on the back ground or the iris opens or closes. Which tells me I did not turn off Auto... Learn how to operate the camera and study the camera's manual... Most camera manuals can be found on line for free. If you do not understand a feature of your camera learn about that feature and how it works. As for lighting learn to use bounce cards to shoot natural lighting or look it up on-line. There are many older books on basic photography on the subject. Have fun with it... As for the breathing question I would look at taking a class on yoga and learn to slow down your breathing and relax (it helped me)... Also, if your going to make this a living/ career as an operator, I would keep yourself in good shape and eat right. Holding a camera all day can take a lot toll on your body so take care of yourself as you would your camera gear.

As for your question on shooting where there are large groups moving around you during an interview. I would look for a light pole or something that cannot move and put your back to it! This way no one can hit you from behind and it will also give yourself a position to balance yourself on. Keep your arms in close to your body so no one can push you from the side and then, all your thinking about is your subject (Sound, lighting Etc.)! Also it is your job to tell a story with a camera and never mind what people are saying, as along as its within the law. Make sure to ask about filming in the city and filmimng permits. Contact the city hall or ask a local police officer before filmimg, call ahead! It will be safer and a permit will cost less then a ticket or worst jail. If filmming shires ,I would always take the time to ask first! You should also ask questions about the shires and learn about it from the people whom work there. Make new friends and ask them what is the most beauitful time of time of day to view it! You may learn something and get that one shot no else as been able to get because its hard. If you plan to visit it will make it easier than just showing up! Ask yourself this question how would you it if someone just showed up to your house with a camera? Call ahead and set it up to talk about the building and go there with pre-planned questions... Your images will show you did your home work and you care about how it looks.

Hope this helps! Have fun and good Luck!

Mark August, S.O.C.

Hollywood , California

Hey all,

 

I recently purchased the Sony PMW EX3 and am loving it. My problem is this. I want to edit my footage. I have Final Cut Studio 1 which is apparently incompatible with the SxS cards. I'm looking to make the jump to Avid Media Composer, but am unsure if it supports SxS Technology. Can anybody enlighten me?

 

Much appreciated,

 

Matt

The XDCAM EX Clip Browsing Software allows you to work with clips created with XDCAM EX devices. After installing this application on your computer, you can use its intuitive graphical user interface to organise your clips by copying, moving and deleting them. You can also perform format conversions, preview the clips and view or add additional metadata. This application supports data that is compatible with the XDCAM EX format.

New features in Version 2.0:

Avid AAF export ? converts to OP1A to OP1Atom and MXF files in a single step export that allows files to then drag and drop into the AVID bin- works on both PC and MAC

DV conversion to AVI and Raw files

Improved Copy with CRC check

Improved look and feel GUI

Improved metadata search - handling and input

Improved essence mark handling - add/delete

Full screen display with on screen playback control display

Still frame grab ? grabs native resolution stills to BMP files

JKL control

Here is the Link; http://www.sonybiz.net/biz/view/ShowConten...=BC+Tools+XDCAM

Mark August

Panavision Hollywood

Hi, I am a film student. I am currently in a Cinematography I class.

 

Our instructor is having us start out learing still photography, so we can learn to properly shoot and expose on 35 mm film.

THis is before we shoot our final project on 16mm.

 

One of our assignments is to re-create, as closely as possible, a scene from a favorite film, trying to match the lighting as much as possible.

 

Being that I am a huge fan of James Cameron's films "Aliens" and the first 2 "Terminator" movies, I decided to attempt to re-create a scene from the beginning of Terminator 2. This is where the cyborg endoskeletons are marching through the future war shooting "Plasma rifles"- the scene lasts about 5 seconds, but it is one of the coolest things in the film

 

My idea is to re-create this scene using a 18 inch tall "terminator endoskeleton" high end action figure- It is a sort of artificial reflective chrome... I'm planning to have set up on a table a miniature "wasteland" of broken concrete and rubble, with likely some sparks added from some leftover 4th of July fireworks-

 

My question...How can I make this model look 6 feet tall?

I want to make sure this photo has depth of field, proper lighting, smoke, sparks, etc...the light has to be very bright and bluish/white, and have some type of "raking" effect to bring out the detail, then likely some red to suggest fire/explosions also... I want to use dry ice for the smoke, but I am not sure how that will come out

 

I am thinking of trying to borrow/ rent a macro lens, just to shoot this photo...

 

But, my question.....any advice on shooting something like this....

 

I know that it may just end up looking like a cool toy commercial ("new from Hasbro!!" etc) but I want to try and see how realistic this can come accross...

 

Thanks for advice to a newcomer

Here is link to Panavisions Fraiser Lens demo video just to give you an idea of the sysytem and it may open up ideas on fliming this project (see below link). I would also think about using smoke (not dry ice) by filling the room with smoke to give the same look just remember the temperture of the room and the outside temp will play a factor. However its fun to learn what works and what does not! Wish you all the best on this project! Sounds like it could be alot of fun...

http://media.panavision.com/ReferenceLibra...ml/Frazier.html

Mark August, S.O.C.

I'm shooting a period piece set in the 80's. Does anyone have any tips to eliminate the rolling lines? Different speeds?

With the HVX-200 you will have to go into the menu setting and your looking for SYNCRO SCAN. you can use this in the P2 or Tape mode. This mode display mode (camera) adjust the syncro scan shutter speed used for shootong images on a TV screen, etc.

Press and hold the OPERATION BUTTON to speed up the speed value. If your using the VIDEO CAM as the selected OPERATION TYPE your option setting will give you 60P or 60i, etc. If your using the FILM CAM as the selected OPERATION TYPE the shutter speed is selected as the OPERATION Type option (the angle can be changed in increments of 0.5 degrees)

Hope this helps!

Mark August, S.O.C.

Panavision Hollywood, CA

I would first make sure your managing your footage correct. For each card make a NEW folder and ALL the BPAV files into this new folder. Name the folders anything you want but DO NOT rename the files in the BPAV files. I would also update your Clip Browser software. There is a new verison on Sony's site and not easy to find... Open the footage from Sony's clip broswer software or the XDCAM EX transfer software into your editing software Final Cut or Media Composer... Update your software may fix the issue your now having... Good luck! If your information is there in the files, then you should be ok! Its just fixing why you can not play or view the clip's.

Hope this helps! Next time you'll be pro at handling EX footage... Just an F.Y.I. handle P2 card footage the same...

Mark August, SOC

Panavision Hollywood, Ca

The Rescuer got the files back.

Which is so great!

but....

but he can't play them!

 

Can anyone give us a tip?!

What to do?

We are so close to get our rushes back!

The Rescuer :) has them saved on his external disc.

I should give the cards back to the rentalhouse tomorrow, and they are going to be overwritten (I hate this)

ANyway. If someone has something to say I will be happy to get some advice

regards

iw

I'm on a pilot show shooting over the weekend and the DP ( friend within S.O.C.) asked if I would operate. I asked him (during pre-production) why he needed an operator since he is an operator himself. His answer was because I understand the camera operation menu's and he liked my work as an operator in my past work. During filming and playback we have this great open line of communication and coverd the shot list nicely. Long hours but the shots are covered and what a great feeling at the end of the night of shooting because the crew and cast where watching us all work together as a team (the DP and I). When I DP, I also do operate but I have second guessed this now...based on the budget...

Mark August, S.O.C.

So for specific things like a jib shot or steady cam shot I can understand using a specialised operator...

 

But when you are doing steady shots and whatnot, why use a camera operator instead of just letting the dp camera op? If we get a camera operator, what is the job of the dp, just to get the lights looking good and then letting the cam op take the reigns when it rolls?

 

Up until now, the cinematographer that I've worked with (and love working with) has operated the camera. But those have all been shorts, and I have a feature coming up soon.

 

Should I get a camera operator, or should I let the dp continue to operate? What are the pros/cons of either? What's most common?

Thanks for the Operating Manual. Im not sure right now were we are getting the camera from. But im going to make sure i get to sit through the prep session at the rental house. Does Panavision Hollywood rent out F23's. If so would it be possible to come down and sit through a prep if there is one going on some time this week. I dont shoot for two weeks so i have some time to learn the camera. and I am familiar with the F900 so i doesn't seem that it is going to be to hard.

Blain,

Yes we have F23's camera at Panavision Hollywood. We are always here to help you. Most AC's (who are new to a camera)call a week before there prep and request a one-on-one hands on demo once they know the camera is renting from us. Most Dp's will set this up for there crew.

All the rental house's I have been to are open to AC's coming in with advanced notice to understand a camera or camera format (HD and film). Its a good sign to the rental house that your not going to have issues on set or on location. If you don't ask, what have you lost? Go after your dream and make it happen! Hope that helps!

All the best,

Mark August

Panavision Hollywood, HD Dept.

Mark~ I have a question.

 

Which one is right engraving?

 

65mm white & 48mm orage ? or 65mm orange & 48mm white ?

 

 

Anyway..

 

When I shoot F-23 with Digiprime Lens

 

white mark is accurate measuring of distances then orange mark. In my experience...

 

 

Thak you for help of Mark and Stephen.

Teo,

I have re-read what I wrote and see I have posted two different anaswers on the focal plane engravings. The correct answer is on the F23 = 48MM and 65MM Focal plane engravings (reversible plate, white mark= 48MM, orange mark= 65MM). Sorry for any missunderstand and for pointing this out! Most B4 mount lens are using the orange 64mm focal plane.

Again Thanks,

Mark

TO ALL,

 

I was wondering How to achieve a spinning camera effect. To explain myself better I want the camera to stay in the same position but then spin all the way around, so that the image goes upside down and then back to the normal upright position again. This type of shot can be seen in apocalypse now when martin sheen is being thrown to the mud towards the end.

 

ANY IDEAS ON HOW I CAN ACHIEVE THIS? (the cheap way)

 

p.s. I am also interested how they achieve this the hollywood way, whoops I meant expensive way :P

There are few ways to achieve this effect. We have a rig called the PANATATE. The camera is mounted in the center of a circled camera base with the gear heads turning the camera. It has taken a full day to insure the camera is centered and balanced.

As for cheap, it maybe cheaper to rent the gear needed for your effect than the time (time is money) it would take and re-inventing the wheel (plus the unknown cost)! However, it is fun to try!

The fast and easy way is using the Fasier lens which spins the lens. I have attached a link to the panavision web site which shows the fasier lens in use via a video. See below link.

http://media.panavision.com/ReferenceLibra...ml/Frazier.html

All the best,

Mark August, S.O.C.

Panavision Hollywood

Thanks Mark,

 

I couldn't open the attachment but i live in West LA so ill just stop by Panavision. How long does it take to go through the interview process?

Once into the first interview with our shipping manager there is a second interview that follows with the prep floor manager. I was just told its fast during the summer months normally. However there are not features filmimng like years before. But our office is busy since we have a large HD department and inventory of HD cameras. So looks like your timeing is really good. So stop reading this forum and get over here to turn in your app.... Good luck and to all who are reading this!

All the best,

Mark August

Panavision Hollywood

were do i get the application for the Panavision Two Year Internship. That sounds awesome. But should i give up the AC work i do now and take two years and commit to Panavision.

Jake,

If your in Hollywood your always welcome to stop in and pick up an application. I did attached a application on this form on June 18,2008... Hope you can open this attachement please read my posting above on June 18 you should see an attachement ( I happen to see it on my side of viewing this forum. I only assume you should be able see this attachement. At lease I hope so!). As for quiting any work before starting any program it would be wise to get an application on file and quit any job with notice. Its the professional way of quiting any job on good terms. All the best!

Mark August

Panavision Hollywood

When I Shoot F-23 with DigiPrime Lens.

 

I confuse.

 

F-23 has two method of Measure Hook(Focus Reference Mark).

 

Could you tell me where is right way? with Digiprime Lens.

 

Help me!!!

One of the dilemma's is all HD lenses are not calibrated to the same film plane even though they were all manufactured to work on the 2/3? triple CCD array.

The second dilemma is that the Cameras are marked with different film planes from manufacturer to manufacturer and model to model. Here is the big thing to ask when renting an F23 during your prep. On the focal plane plate sony has both markings of 48mm colored orange and 65mm colored white. Ask your prep tech at the rental house to set it based on your Dp's lens package. At Panavision Hollywood we set the camera during service to match the lens going out. There have been crews going out when both are needed and we have show the AC's how to check and set the flim plane plate for there shoot during there prep.

Here?s what we have discovered so far here at Panavision Hollywood???.(we are still testing lens with the F23)

Lenses set to 65MM Focal plane

Panavision Digital in B-4 (PV mount is 70MM)

Zeiss

Fujinon E series

Lenses set to 48MM Focal plane

Canon ?new Cine-style?

Cameras

Sony 950, 900R, 900S, Betacam, DVcam = 48MM focal plane engraving

Varicam = 48MM focal plane engraving

Viper = 48MM Focal plane engraving

Panasonic P2HD, HDX900, SDX900 = 48MM Film plane engraving

Panavised F900 = 65MM Focal plane engraving

F23 = 48MM and 65MM Focal plane engravings (reversible plate, white mark= 48MM, orange mark= 65MM)

Here is the big thing to ask when renting an F23 during your prep. On the focal plane plate sony has both markings!

If you have questions on any camera ask during your prep when checking your marks on all of your lens. Ask! Thats why Pro Camera crews going out of our office here are preping all day checking camera and lens and they still ask questions. Thats why there working and why I call them PRO's!

Hope this has helped. All the best!

Mark August, S.O.C.

Panavision Hollywood

The manual is the first place I looked. But unfortunately doesn't help.

Thanks anyway.

Scott,

Is this a new HDCAM SR Tape? Here is a step-by-step answer to your question. The tape which has a full "Telefile" needs to be in the SRW1 deck and turned on from the camera or on the SRPC.

On the remote push "HOME" plus "SYSTEM" at the same time.

This will bring you into the "DIAGNOSIS" page

using the toggal/dial to the "TELEFILE" page and select enter

select the "FORMAT" page and push enter

This will bring you to a page which state's "Format Telefile?" Press [Func] + [Enter] to Format.

This will clear your Telefile inside the HDCAM SR Tape which is full of data. As for the flashing VTR warning in your viewfinder this will stop. You can also set up what warning you what to see or not see in the Operation menu on both the Genesis and F23. You can call on your Rental house on this. You should not have seen this Telefile full if you have a new tape.

Hope this has helped and your shoot goes well.

All the best,

Mark August

Panavision Hollywood, CA

I was told by an old timer that it used to be common practice to wear steel toed shoes on set, but he now doesn't recommend them because if something heavy falls on on them, the steel in the shoes can actually cut off the toes of the person wearing them. The last poster seems pretty knowledgeable, so I could be wrong about this. At the very least, don't wear open-toed shoes, but I'm sure you already knew that.

 

 

I would second guess the recommended statement on steel toes shoes! Wow! In my 19 years of Military service (and still wearing steel toe boots) I have never heard of Steel toe shoes cuting off someones toes. I know you stated you could be wrong on the matter. If there was a issue with steel toes being a saftey problem, it would not be out there for so many workers and military members world wide. So, let your old timer friend whom does not recommend them know I think he/ she is wrong! I have have been filming many times and had my feet run over by a vehcile and 'Thanks' to my steel toes boots I have my toes. I would not wear open-toes shoes. Just know there are always issues out there and options. OH! How I had my toes run over was on a the flight deck filming aircraft land on deck. There are yellow gear (aircraft towing vechiles) on deck and there is liitle room for aircraft and never any for photographers or cameraman filming (not looking at what is going on outside my viewfinder- my bad). So if you can wear saftey shoes, "Wear them"! Better safe than sorry!

 

Mark August S.O.C.

Use your high school algebra to derive the formula.

The Sony EX3 is not out and still in beta tesing before release. If using a 2/3-inch type lenses with the EX3 camcorder, the Fujinon ACm-21 lens mount adapter must be used. Then your 2/3 inch lens will mount to the camera. Ref. www.sony.com/xdcamex

Hey all,

 

I'm up in Canada for a sec and need to complete some post work on a vid. In L.A. I could rent DigiBeta decks for $300/day and that included a monitor... Alas, I fear this will not be the case in Toronto (Sim video quoted $700/day). However, I haven't given up hope yet. Does anyone have any ideas/tips/clues about where to rent DBeta decks for around $500/day or cheaper?

 

Thanks!

 

Evan

Evan,

Try contacting Panavision Canada in Toronto. Get a qoute from panavision they transfers cameras and decks world wide and could make a tranfers if need for your shoot. Ask for the DVW A500 deck or the DVW250 a portable deck.... good luck and all the best!

Mark August

Hollywood Ca

Panavison Canada

Address 900A Don Mills Road

Toronto, Ontario

M3C 1V6

Canada

Phone: 416 444-7000

hi mark,

thank you so much for your kind reply...my query is i am from india and i have done my Post Grad. course in cinematography. i did that course in L V Prasad Film And TV Academy owned by Prasad Group. that's a Private College. So is there any criteria that only US students only can apply for this full time course.....if any foriegn students wants to pursue this course...what are the criteria.....if you can clear this doubts it will be very helpful for me...

looking forward to see your reply..

thanks...

ankit

Hello Ankit,

Our two year program is a full time job and not a course. Sorry if there is any misunderstanding that this is a course and for education for college credit. If you are looking for college credit here we have an intership program which is for college students. I do not know how that works but if you need a course for credit the best thing is looking into a educational course which is best for you and your experience.

Our two year program is open to all who wish to apply and meet the requirements of employment. Panavision is global and there may be locations you may be able to contact which are going to be a good fit for you and your experience.

Sorry it has taken me so long to reply and hope this answers your question/ reply. Just a note for you Ankit;

Prasad Group one of India's providers of film production and postproduction services have partnered with Panavision Inc., Australia to launch Panavision India. There web site is www.indiantelevision.com. I do not know anyone in the India office myself but look at there web site and follow your dream.

All the best,

Mark August S.O.C.

Panavision Hollywood

hi...

i am from india and i would like to apply for the two year programme...is there any provision for the foriegn students.. if you can guide me on that...it would be great...looking forward to hear from you...

thanks,

ankit

Ankit,

Would love to help! I have attached a word doc. on the two-year program and a Panavision Hollywood Application. The two-year program is a paid, full time position that requires a 2-year commitment. A degree in film is not required, nor is past film set experience, yet both are preferred. If your a student and would need provisions, I would look at the college internship which is for college credit. You would have to contact your University to see if there is a sister school here in Southern California. The college students in the past have had provisions given to them from the University or college, at least that was my understanding from the students here from last summer 2007. At present time Panavision does not have any provisions for college students.

If you have more concerns or questions please ask, as that is what this form is about and we all share the love of cinematography! I do not know anyone here at Panavision who does not share the same and desire to help. Keep your dreams in focus and all the best.

Respectfully,

Mark August S.O.C.

Panavision Hollywood, CA

Employment_Application.pdf

PANAVISION_HOLLYWOOD_2_yr._Descrip..doc

Is the program part-time? I thought it was full-time.

The Panavision Hollywood two-year program is full time. The intership program is part time for college credit. There are many intern's who return here and take part in the Two-year program. In fact, if you read above Jason 'McLovin' Semko who wrote about the program is was a former intern and now a full time two-year program employee.

Mark August S.O.C.

Panavision Hollywood, CA