Scott Dolan

I overheard a group kids talking about how the movie sucked because of all the continuity errors. I think this is the point of view the negative reviewers are taking, they just didn't get the movie at all. The continuity errors, along with the filming and cutting, and especially the music cues were all very purposefully done to add to the story. We are watching a character try to maintain a delusion, what the movie does brilliantly through the editing, is show us something is not quite right about the main characters point of view. Of course there will be continuity errors if someone doesn't view the world the way it really is.

***spoiler alert***

Very true. All of these things plus the purposeful use of green screen and non-interactive lighting in otherwise simple shooting environments, was just brilliant in sub-conciously taking the viewer into a world that's not quite right.

I sat there for most of the film thinking "why the hell did they shoot that on green screen". Simple interiors were even done this way.

And it all made sense in the end.

Bravo Scorsese/Richardson, bravo.

Looking for complete system with wireless control and transmitter.

Cheers

Anyone selling a FI+Z with motor driver and motors let me know.

Cheers

Scott Dolan

+61 402 601 713

scottdolan.ac@gmail.com

It is my understanding that the majority of the electronics and circuitry required to drive the RED LCD's actually reside in the camera body itself, which is why it has to connect via a lemo connector with many pins. It's also why the LCD itself is so thin. I don't think it's possible to rewire it to accept an HD-SDI signal because all the signal processing is done by the camera, not to mention that the panel also has a non-standard resolution.

Ofcourse :D

That explains everything.

Thanks mate

Hi all,

Just curious if anyone has had a go at, or knows anyone who has modified a Red Pro LCD 7" or 5.6" to take a HD-SDI signal from a non-Red camera? Surely someone has rewired one by now to take a BNC and 12V power input?

If anyone knows of a wiring diagram out there for the 16-pin Lemo, it would be much appreciated.

Cheers

Hi all,

Just curious if anyone has had a go at, or knows anyone who has modified a Red Pro LCD 7" or 5.6" to take a HD-SDI signal from a non-Red camera? Surely someone has rewired one by now to take a BNC and 12V power input?

If anyone knows of a wiring diagram out there it would be much appreciated.

Cheers

There's a good article In Feb AC mag which kinda helps describe convergence and interocular distance.

http://www.theasc.com/magazine_dynamic/Feb...aline/page2.php

Here here!!

Such a massive contribution David has made to Camera Assistants through pCam. Great to see he's finally making some cash.

Highly reccommend to all those iPhone users.

Im working on a RED Feature and the other day we lost total functionality of the RAW/REDSpace switch. Now the image is permanently stuck on RAW and we cannot get back to a REDSpace view at all.

I had it set up on User Switch #2, so I tried changing that switch to other functions and it worked perfectly. So its not a physical fault with the switch.

Tried changing other User Switches to RAW/REDSpace and still no joy.

We are running the latest version of Build 17.

Has anyone else had similar problems?

Is this just a bug that Build 17 Beta hasn't ironed out yet?

:(

Can you put your ear to the mag and pin-point where the noise is coming from? (throat or core)

Doesn't sound like a stock issue. Try running some test Kodak stock through and I reckon you'll have the same problem.

Could be coming from the bearings or whatever that are spinning the core/plate, but only under a very specific tension point.

Try spinning these by hand at different speeds and with different amounts of pressure and see if you get a squeak.

Hope this helps :)

Here's a trick.

If you're on a long lense and there is a filter in the matte-box, you stand at the correct distance (e.g: 25' for 250mm lens) and then find your reflection in the filter so you can see your face. Then pull the slate up to where your eyes are and there you have the perfect spot for the slate.

Operators hate having to reframe for the slate. Keep an eye on rehearsals so you know where the shot starts and where to stick the slate without making the Focus Puller say "camera left a bit.... up a bit" etc. It's very frustrating when you have a Loader who cant put the slate in the right place.

Sometimes if its a very critical pre-frame for both Operator and focus, it's easier to just do a tail slate.

It is the Focus Puller's responsibility to have in-focus slates.

If you are using a timecode slate make sure the brightness of the numbers is set correctly. If you are using a fast stock like 500T you may need to grab a strip of .3 or .6 ND gel from the Lighting Dep. to knock it back.

Also, where you can you should always bring the slate into frame from the bottom, and take it out from the top.

This helps the Editors when scrolling through rushes at high speed. Sticks should always be open when you first bring the slate into frame.

Slating is an art form. A skill acquired with experience.

Hope this helps :)

Truth is the can is just a secondary measure.

If your roll is right down the bottom of the bag and its folded correctly, then the roll is safe in the bag alone.

I've seen situations where the Loader has run out of cans and they've just put it into a bag and taped it up good.

All fine.

Thanks Scott. :)

 

Don't need a separate tape for P2 though since there is no tape. ;)

Ah too true. However I'm pretty sure you still need to isolate frame-rates onto separate cards?

After reading the F23 manual, I had several "general practice" questions:

 

1. When shooting in the "custom mode" for broadcast and having a DIT painting the camera on set, is it generally recommended to use the "extended" d-range and "wide" color space settings?

 

2. When would you use "normal" d-range?

 

3. How do these settings affect the overall image in combination with your choice of gamma?

 

4. When would you use the "cine" mode? Is it just for when you use S-Log gamma?

 

5. When you're shooting a 23.98 project that requires 24-60 fps overcranking, is it recommended to shoot the whole project in "S59.94P 4:2:2 YCbCr" format or would you use S23.98/23.98 PsF and only switch over for the overcranked shots? Does it only matter if you need 4:4:4 RGB on the 23.98 footage?

 

6. I've heard recommendations to use a separate tape specifically for off-speed footage - should you also use a separate tape if (for whatever reason) you change the format but not frame rate (i.e. S23.98 PsF 4:2:2 --> 23.98 PsF 4:4:4)?

 

7. Is it generally recommended to use electronic 5600K white balance whenever possible instead of 3200K and the internal filter wheel? I understand the latter is a bit noisier than the former. Is this true?

 

Thanks!

I'm not too sure about the colour space and dynamic range questions sorry. You might have to chat with a Sony tech about that.

4. Yes you use "cine" mode when shooting S-log. Custom mode is for when you are shooting with a selected gamma, so you can alter the curve or play with the black levels etc. So you can "paint" your image on the day. You can also shoot "cine" mode when using a preset gamma, but you have no control over the variables.

5. You might as well get the best colour compression when you can. So best to shoot _23.98 4:4:4 then switch to S59.94 4:2:2 for your overcranked stuff.

6. Changing tapes for off-sync frame rates only applies to the Panasonics (Varicam, P2) which need to go through a different capturing process.

There may be other systems that require this too, but I'm pretty sure that this doesnt apply to the HDCAM-SR format. Although you wont be able to play back from the SRW-1 any footage that has been shot S59.94 4:2:2 if the deck is set to _23.98 4:4:4.

7. You should run some tests on this, but yes I believe it is a little noisier with the D5600 switched on as the camera needs to compensate for the loss of light electronically.

I wonder if anyone else can shed some light on this?

Hope this helps :blink:

The biggest and most important thing to get your head around with the F23 is the S-Log recording option.

You have the choice whether to shoot in S-Log mode or select a gamma setting for recording to tape.

S-Log is designed for the grade (pulls in the image retaining as much info as possible), therefore not committing to any sort of "look" on set.

Whereas if you select a gamma preset or load a user gamma curve, then that is what goes to tape.

If you are recording S-Log there is a function in the camera where you can turn Rec-709 Gamma on for your MONITORS ONLY. This is not recorded to tape. This is simply to give you a beefier image on set for the Director and so forth to give you a bit of a more accurate idea of what the image will look like after the grade. The S-Log image without Gamma monitoring switched on is really quite flat and lifeless.

Also I would recommend thoroughly reading through the SRW-1 manual as there is a few things to know with these recorders and can be tricky when recording externally from the camera via dual HD-SDI.

Hope this helps.

Cheers

p.s: be careful with those silly 4-stage latches for mounting the SRW-1 to camera. They are prone to breaking and cost around $650 AUD to replace!

Use the search function. We answer this, or a question very much like this, every other week or so.

If you read the question you'll see its actually quite specific. I would never post a question without first searching through the pre-existing forums as I am only new on here and am sure many many topics have already been covered. Unfortunately not this one.

I wasn't asking for people to make sly remarks and fester negativity. I was hoping someone would have an answer.

But thanks for your input Chris.

Hi All,

Just wondering if anyone can clarify something for me...

Often when shooting on 16mm I'm working with 35mm Ultra Primes, and I'm just wondering what sort of CoC I should be working to in this setup?

I know that UP's have a reduced DOF compared to regular 35mm primes due to aspherical elements and UP DOF tables need to be used. However I'm not sure what I should be working to when using these lenses on 16mm cameras.

Does anyone have an approximate CoC they work off?

Cheers

Palm pilots with pCam are the only way for me.

They tell you your DOF far more accurately (to the 1/10th of an inch!) and are extremely useful for setting splits or favouring foreground, background etc.

Samcine and Kelly wheels are old technology, completely outdated.

But thats just my opinion :)

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

Perfect!

Thank you mate.

:)

That's exactly what I was looking for.

The user's manual should be available online:

 

http://www.google.com/search?hl=en&q=S...G=Google+Search

 

.

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

Thanks anyway.

Hi all,

I've been having an issue with the SRW-1 recorder when used with Genesis and F23 camera's.

I often get an error on the recorder "#0010: Telefile full" which I know refers to the fact that the telefile memory of the recorder is full, however I'm not sure how to delete the existing memory in the field (after 70 files it is full). Alternatively, I just need to be able to switch off the error message from showing in the viewfinder but still have VF Display.

Any ideas?

I know this error message does not affect recording in any way or shape, but its just annoying for the operator to have "VTR WARNING" flashing in the viewfinder if he or she wishes to monitor VF Display while shooting.

Cheers

Also, how important is measuring focus is you have an HD monitor to look at?

A good AC will always work from marks and measuring where possible. And with the new HD systems and higher-res monitors it is also very fast to use the VF and onboard for eye focus, in conjunction with marks.

Although sometimes pulling from the monitor is the safest option (in extreme long lens or shallow DOF situations). But it's wise not to develop bad habits. Try to always be conscious of your DOF and where you are shifting it when you pull focus.

Thanks for the advice so far. What about camera reports? Are they considered necessary for digital shoots? If so, are there any good forms out there?

I find the old film sheets are still fine for the Digiworld. Instead of the film counter you write the end TC of the take etc. Just adapt all boxes to suit whatever format you are shooting.

Hi all,

This is my first post on cinematography.com.

I'm an Australian 1st AC based in Byron Bay NSW.

Looks like there's quite a few knowledgeable camera people on here so I'm looking forward to some quality posts.

I've been having an issue with the SRW-1 recorder when used with Genesis and F23 camera's.

I often get an error on the recorder "#0010: Telefile full" which I know refers to the fact that the telefile memory of the recorder is full, however I'm not sure how to delete the existing memory in the field (after 70 files it is full). Alternatively, I just need to be able to switch off the error message from showing in the viewfinder but still have VF Display.

Any ideas?

I know this error message does not affect recording in any way or shape, but its just annoying for the operator to have "VTR WARNING" flashing in the viewfinder if he or she wishes to monitor VF Display while shooting.

Cheers