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varun sud

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  1. Hi Had anyone used a Feelworld monitor? They have a 7 inch 2200nits SDI monitor for as low as 330$ I wanted to buy the small hd 702 because of its calibrated screen and features but the price has held me back My main purpose of buying a monitor is to have Continuity of having the same monitor on all shoots irrespective of which camera and vendor it comes from. Also I want one which I can use to judge exposure and contrast. Can I use an atomos monitor+recorder to set my exposures? Are their screen calibrated? Can they be maintained over course of time? Can anyone pls recommend. Thanks Varun
  2. Hi Phil Thanks for your detailed reply. I think we will have to keep a mix of 2/3" and super 35mm cameras. The ones on the FOH can be on stabilized 100x zoom and the closer ones can be Super 35mm We are trying to do full Sony or Panasonic by using Sony F55 or Panasonic Varicam as the super 35mm cameras. I think that will make things a lot seamless I was reading that Arri Amira and Mini can be controlled by Sony RCP by using a DTS Fibre Camera Adaptor. This way a lot of multicam parameters can be controlled remotely. Any experience with those? Are there any ENG style PL mount lenses that are good? Do they come with stabilization? I have attached an image from Amira's catalogue which seems like a ENG style Canon lens If we don't get remote access, will definitely go for iris control through servo motor Pls do share if you have any more insights into multicam with mix of broadcast and super 35mm cameras. Thanks a ton!! Varun
  3. Hi I have been asked to shoot a big concert with PL mount cameras. They have been doing it with a 12-15 broadcast camera setup. This time in addition they want to add cine style cameras for shallow dof and better latitude. My first preference is Arri Alexas Anybody can share more insights into shooting a live 2-3hrs concert with super-35mm sensor cameras. I believe big concerts like Coldplay, Beyonce etc are shot with cameras like Alexa, Sony F55 and Panasonic Varicams. Any suggestions for lenses and workflow? Thanks Varun Director of Photography Mumbai, India
  4. Hi Everyone I am a DP from India. Often the cameras that come for shoot don't have properly calibrated monitors and viewfinders. Since there isnt always a DIT on set, different monitors have different look. Especially if the camera viewfinder doesn't seem right it's a frustrating experience. Is there a way I can calibrate the viewfinder and onboard camera monitor for the Alexa or Red cameras? I don't mind buying a device/tool to do the job. Can somebody pls suggest a solution. Thanks Varun
  5. Hello I need some advice regarding the look of visuals shot using video cameras in the early 80's in India. The cameras that were available here were the 3 tube cameras like Sony DXC M3. I have to shoot something that should look like archival footage shot then. Can anyone please give advice regarding the cameras I could use, the post production techniques to get that look. Can anyone suggest where can I find some footage shot with those cameras. I have been told that those cameras used pneumatic recorders. What did the footage look like shot using the 3 tube cameras? How did they respond to low light conditions? Were there any particular traits they gave to the visuals (blacks, grains, tones, any timecodes etc)? Would be grateful for any suggestions. :) Thanks Varun Sud
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