ryan knight

did you simply drop the materials in front of the lens and then hit it with some light? looks great. i did something similar years ago with acetate, like cellophane - all crumpled up and folded, hitting it with it's own source. but it softened the overall picture too much. i suppose your technique didn't involve covering the entire lens with the materials, only an isolated area where you wanted to see foreground elements?

Now knowing that the 5/7D's optimal ISO settings are the 160, 320, 640, 1250... etc. increments, what ISO setting is optimal on the T2i (whose sensitivities are the in-between noiser "electronic gain boosters" - 100, 200, 400, 800... etc.)? Anybody have any thoughts?

even the sharpest glass and best coatings won't help the CMOS' rolling shutter. though, canon's IS lenses do help a bit. maybe ARRI and COOKE should release primes with IS :rolleyes: lol... or just don't shoot DSLR.

i recently tried 'not mounting the lens' on my older nikon d40, and the camera refused to capture a photo... ?

i'm thinking digital. the footage in the posted 'coffee' montage originated on film, i'm assuming?

but how does that work? doesn't the camera need to detect the digital signal from the lens, electronically, to get an image.

so you hold (with hands, or some kind of static rig) the body and lens aligned as such to render an image, but allow a space for light to seep between the rear element and the sensor? that rudimentary? wow. wicked.

fascinating innovation. but how do you mount the lenses to allow for light to sneak in between the mounts?

Anybody?

Hey guys, I'm shooting a feature using the HVX200 and Mini35, and we are recording to a nanoFlash. We shot extensive tests using the HPX170 to nanoFlash, but now we are looking to purchase a Component to HD/SDI or HDMI converter box to send the HD signal into the nano (which, obviously, doesn't have Component-in). I'm wondering if anyone has any experience with this, or a similar set-up. We really want to be able to remove the 1080i/24pA pulldown while recording, skipping that step in post. I found this AJA (http://www.bhphotovideo.com/c/product/259904-REG/AJA_HD10A_HD10A_High_Definition_Converter.html#features), and even though I will call BH, I was hoping someone here may have some more immediate experience/insight with it. RK.

David, Phil. Thanks guys, I've learned quite a bit from this thread.

I'm not outfitted with a good enough display (I have a 23" Mac Cinema Display) to properly monitor and examine the differences in potential noise. Though, my display does have proper NTSC (1953) and SMPTE-C Color Sync profiles :)

That's what I was leaning towards. A question though about PDlog and CameraRGB... When starting to grade from PDlog and RGB, I find that in order to get the saturation to a place that feels similar to REDspace I need to crank the saturation in Color to 2.0 (ish). Does upping the satch that much harm/degrade/introduce noise to the image in anyway?

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Is this something I should have done before the edit started? Every time I have downloaded the bundle from the Red site, RedAlert and RedRushes are the only apps to actually install on my computer. Is RedCine-X part of that bundle? RK.

I'm pretty sure I didn't see RedGamma as an option in Color. In fact, I haven't heard of it til now. Is it new with a recent build, or the new sensor?

I am approaching color-correction for a short I captured on the Red. Monitoring REDspace on-set, the images are so close to perfect for mastering. So... should I: A ) just continue working with REDspace and do a few polishes and output? B ) set the color space to PDlog and color gamma CameraRGB and start from 'scratch'? Thanks.

That'd be me*...

That first infant, at 0:04 to 0:06, flapping his hands... that'd be finding out my next show shoots Viper.

"36 MB/sec or 288Mbit/sec". I feel like a moron for not knowing the difference MB vs Mbit... ?

In Toronto, I received a quote on a Viper that dipped by 25-30%, but it still doesn't go out for a price comparable to what I can get a Red package for. I wonder if Fincher used a digital recorder, since the data rate of the .r3d's is probably nowhere near that of the Viper's data. Or does the M-X up the data-rate and 'raw-ness' of the .r3d's?

I just had the pleasure of watching Zodiac on Blu Ray and marvelled at all the beautiful imagery from the Viper. I'm disappointed to see, via imdb.com, the his next picture was captured on the Red. Anybody here know any details about why the switch, or his workflow?

Does anybody think, at this point in acquisition technology, its worth buying a (well-priced) used DVX100 Andromeda? RK.

Any DPs in Toronto, Ontario with a 5D MKII with the EOS to PL mount adapter? PM me please if there is. RK.

i don't think you will have any issues because you will be playing the track on-set, meaning the camera will record the guide track, using the 30P frame rate. then if you convert to 23.98, the guide track will also be converted, and if you bring the MP3/AIFF from their album into the timeline, the track should be converted to 30P or 23.98 when it is rendered for the first time.