Stephen Williams

OK it's based on the Mitchell that started life without reflex viewing. The first shutter is adjustable on a Mitchell 0^170 degrees, PV's don't fully close because the widest is 220 degrees. Imagine 2 semi circles of black metal that can move relative to each other, so the open shutter can be any angle you like. The viewing mirror shutter just covers one of the shutter blades, it's not a butterfly. I have some drawings at home, however I am away for a week-

Hi Peter, The thread is about Epic, which records in Redcode RAW, which is what Keith is talking about when replying to my post. It's is not yet working.... Avid have not said they support Epic files. Epic M went on sale in November 2010, my camera is in the 1200's so there not that rare. BTW After effects & Premiere Pro 5.5 do support Epic files. Best Stephen

They were sending Epic files I shot to the Swiss importer of Avid last week & I was present for a 1 hour telephone conevrsation yesterday, it's still not working........

Bigger Tungsten (AC Powered) lights have more amps going through them so flicker less. If you have 3 x 2 Kk's on different phases any flicker will be minimized, I have sucessfully used Brutes at 500 fps so the theory does work!

What version & DS in particular, they claimed they could a year ago however it never worked.

I am not really sure the full details or even if even saw all the posts, I was working away from home at the time with only an Iphone for internet access. I looked at the last 2 pages & clearly there was a very reasonable conversation going on with Jim Jannard. It's very rare for any editing of posts here, I am a mod in this forum & can't edit posts, I can delete or close the thread.

As I get any information I need directly from Technical support at Red, so I am really not inconvenienced or bothered in any way. EDIT The Ban has been lifted, so business as usual! Best Stephen

HMI's even flicker free can flicker & / or have ARC wander. Ideally you should use large tungsten units, the advantage is that you can dim them between takes, it's what I usually use for high speed. You need to use large units 10k or more & use multiple phases.

I don't thin you got a bad example, they were never in the same league, which is why they are unloved even on Ebay.

It's a Reduser mentality that only owners have anything worth saying. Of course what the non owners like David Mullen say is more important than people with a horse in the race. Last week I shot 35mm, F3, Epic & an EX3, so I am still using what is right for the job, I wish to be booked as a DP, not as a camera owner. I don't even mention that I own an Epic on my website.

I suspect that most will not cover Super 16 completly, they were designed for 16mm.

I wished Tim Witcomb 'Good luck with that' he responded by calling me a *anker and asked that I should be banned. The Ban is till Wednesday night so I will miss the Scarlet Big announcement. He wrote to me a PM "you are by the biggest *sshole on here and about 10,000 other redusers agree", he had also been informed that I don't own a camera. Funny thing is I have been enjoying using the camera, almost everything I shoot for clients is at 120 fps, only complaint is why can't it record sound at 120!

You could buy an Arri 3 for not much more today.

If you believe people won't pay £600 for a film, you should really not waste your time, you cant live from that sort of work, your just helping people who are richer than you make more money.

That's right the amount the OP's clients want to spend is the main factor. I know a new facility house that made a film for a client 5 years ago, they spent $100k of their own money so they would have a show reel piece. The client paid 0, the following year the client made a $10k film with them, they were very disappointed with the crap they got for $10k v the masterpiece for free.

Without knowing what really happened there is no point in guessing. Normally I would ask the lab to do a clip test. For a telecine transfer it will probably be fine, especially if you overexposed 2/3 stop.

Actually at the time it was the much cheaper industrial version......

You need to do a black shading before shooting 2k @ 300.

It's definitely the cheapest way to get a wide angle zoom, quality pretty good. Does not quite cover 5K FF on Epic but then neither does an 18mm Cooke S4- The 18mm Pancro does!

VFX where the camera is locked off looks naff, thats why motion control systems have been used for the last 30+ years. Run the camera at different speeds & combine elements.

What do you want to shoot & what camera do you have? What other lenses do you own?

I think it's a next version thing, a little like 'the check is in the post' It's even possible the post house has a version that does support, they just have not installed the software, things happen slowly in Switzerland. 'Nobody got sacked by doing it exactly the same as last time'

The only issues I have found is post houses not having a clue how to deal with the footage, transcoding & grading on an Avid after a quick debayer. Even without HDRx DR is wide, I expose as I would film, meter set to 800 iso, highlights seem fine, sounds as though the iso was set low either in the camera or in post, as it's raw it does not matter as long as the people handling the footage know what it's all about.

The gold standard is still film, cheapskates will shoot on anything fro DSLR's EX*'s up

From 1994, seems like a waste of time to me.....