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Andronico Gonzalez

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Everything posted by Andronico Gonzalez

  1. I recommend you to shoot on color, but calibrate the monitor to B&W. This way you can feel comfortable lighting, and use the 3 8-bit channels info in CC.
  2. I like Vimeo, with the standard account you have 500mb and one HD video to upload per week, and with the plus account you have unlimited videos in HD and downloadable .flv and original versions. You can password protect your videos or create groups or channels for more tools.
  3. If you want only to edit any 24" to 30" LCD Monitor is a good investment, For a decent price look for HP or Dell. But if what you want is accurate color representation for a decent price Eizo are the best LCD Monitors, they have some 10 bits models: http://www.eizo.com/index.asp Another option is the awards winner HP Dream Color: http://h10010.www1.hp.com/wwpc/us/en/sm/WF...71-3648397.html Good Luck
  4. Hi, That Nike commercial was made with the SI-2K Mini rigged in a helmet. Recently I rent my cameras for some POV commercials, we use a skydiving helmet:
  5. I found this site from UK, Production Base.
  6. I use Vimeo as a window to show my reel and all my work because of its capacity to upload hd content. A lot of Directors, DP's, composers, etc. use it to. You can search in the channels, there are a few focus only on reels.
  7. I have another solution, probably is not the best solution but sometimes can help. You can make DVD'd with clips and menu in DIVX HD, you can have all your material in any resolution you want. This DVD'd can only be play in PC. Or you can program in Director a Interactive DVD that can auto-run, in both PC and MAC, a menu and clips in .mov, .flv and .swf in any resolution.
  8. It really depend on the shots and the camera the kind of equipment you need. Most of the times is easier to use a cinesaddle and strap the camera: http://www.cinekinetic.com/ Sometimes you need more elaborated camera rigs like the matthews: http://www.filmtools.com/instcarmo.html And also sometimes you need something more advanced than just a car mount, the best way to go always is to talk with a Grip with experience that can analyze and discuss with you the scene.
  9. I didn't know this, we are trying to contact Ari Presler since a few weeks ago because we have some upcoming 3D projects and we wanted the necessary accesories for our SI-2K equipments to do 3D, but he isn't answering his email. I watched some videos of the NAB and in one Jason Rodrigues did 3D shots with one full SI-2K and 2 sensors, I didn't know there was a catch.
  10. Hi Ram, Why you use 2 laptops to capture the material, if you can capture in one single file with the latest version of the Cineform Raw?. I looks interesting your 3D rig, upload some shots so we can watch the work.
  11. I don't think any netbook has the recommended especifications since are designed to be portable and run internet, not to process 2K uncompressed data. It's like te Macbook Air that it's CPU hasn't enough power or even a Gigabit Ethernet card. I know what to look for in a laptop, what I was really looking was someone that can tell his/her experience with a certain brand and model.
  12. A few weeks ago I rent my SI-2K cameras for the new wolverine videogame commercial. The DoP selected 5 cameras to work, one 416, two Eyemo's and my cameras. The Director refuse to work all the SI-2K planned shots because I have the full camera and not only the Mini with a laptop in a backpack like in Slumdog Millionaire. I prepare a backpack with the camera inside and put the Mini sensor in various rigs: A motorcycle Helmets, a skateboard helmet, a vest with two shoulder mounts, a vest with a chest multi position arm, and a 10 feet pole. With these rigs the camera movements were really impressive, all the hardware worked almost perfect, but at last the Director refuses to use them, he wanted a light laptop. I start this topic because I want to buy a laptop that can be my second weapon of choice. I want to know the experiences of other SI-2K Mini users with different brands and models of laptops. My only laptop experience was with a Macbook Pro with bootcamp, it was powerful enough to work but the temperature sometimes corrupts the data, some files had frames with bad pixels. And someone told me that the new models had changed the Gigabit Ethernet card. All suggestions accepted.
  13. Hi Chris, Check out the Hawk V-Lite 16mm Anamorphic Prime lenses at www.vantagefilm.com they have two versions, the Normal that squeeze at 2x and the Super 16 that squeeze at 1.3x, these are quite new. What I wanted to know is if they unsqueezed the Cineform Raw directly in FCP or PP, or they prefer to edit with the image squeezed and later unsqueezed in the DI. I had some experience with the Cineform Raw files in long projects, and sometimes when you abuse of the video filters or transform some values of a lot of clips, like the size or position, the PP crahes a lot. So its better not to mess with the Raw files. Did you know the name of the Canon adapter?
  14. Hi John, I'm a SI-2K owner and I always wanted to do anamorphic, but in my country is impossible to rent s16mm anamorphic lenses. I never tought to use this kind of adaptors, but it seems like a good idea. I still have some questions like if you find a way to monitor the shoots unsqueezed, or if you edit and later at DI you unsqueezed the image. I would be really grateful if I can get some full render stills of your short film, so I can analyze with the director of my next feature, and have it lilke an option. Best of luck.
  15. Hi Bryce, I think is all about the post-production of the promos, if there is some VFX or a extreme color timing you should definitively go in HD; if not, there is no reason for not going SD.
  16. Hi David, Can you tell us the name of the series, so we know if we catch it.
  17. Hola Federico, I have the SI-2K in México, if you have some questions or if you want to use it you can contact me. I had use the RED and the Phantom also, so I can be very helpfull for you. Best of luck.
  18. Hi Lindsay, Don't worry about being shy; personality is something you most worry when you work in front of the camera, behind is more about talent and dedication. There are a lot of humble people in this business, probably because almost all of us started the same way, someone gave us an opportunity. The best icebreaker is to tell someone that you like his/her work, talk about why you like this business and of course the fact that your window blinds didn’t match the exterior of your building.
  19. Hi Justin, I would love to see some of the images you made with the helmet cam mount, since I only seen the ones from the Guy Ritchie Nike Commercial. Just as you did, we shoot with a SI-2K Mini with someone running with a laptop, my camera operator and his assistant really hated me after that. Laptops are not made for running.
  20. This is called "Rolling Shutter", and is a problem in the cameras with a CMOS sensor without a global shutter. Almost all new digital cinema cameras, Red, SI-2K, Nikon D90, Canon 5D, etc, have it. Barry Green published in DVXUser a very good article with a lot of examples that helps to understand this problem. http://dvxuser.com/jason/CMOS-CCD/ Rolling Shutter is inevitable in this cameras, but there are many ways to minimize it: Use more wide-angles Align the sensor cmos in the axis of the tripod, so the angular momentum reduces when you rotate. When doing paning and tilt instead of doing a hard stop you can decelerate the movement. If still this isn't enough you can always use more expensive cameras or workflows, like a Phantom, a Genesis or using 35mm or 16mm.
  21. I agree with Chris, using the 6.5 gives the most impressive wide angles in 16mm. I prefer to rent all the kit from zeiss, it comes with the 6.5, 9, 12, 16, 25. Just be aware that with the 6.5 everything on frame is going to be on focus, good if that's what you are looking for.
  22. Is difficult to know exactly how is done watching the clip in low-res, because some texture is seen on the background, so it can be a red background, or as David says a greenscreen. Also its difficult to calculate the distance to the background, because the focus cannot be well appreciated. Either of both are lighted blocking the actor, there is a toplight to draw a silhouette and a light in the floor near to the camera for the product shoot; this light is not totally blocked, so the actor can have some detail when he runs to camera. The Focus changes with the actor. Hope that this helps you. ANDRONICO GONZALEZ Cinematographer - Mexico
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