ryan knight

it turns out that our powerful little short that could... simply can't... afford ultras either. what could be the next recommendation? thanks all.

.... but we can't afford master primes.... ultra primes it is.

great. i was hoping the majority of y'all would say master primes. thanks!

for future red shooters, couldn't one light for and expose for RAW, ignoring redspace or rec709 altogether and then color from raw once in scratch, or lustre or etc? thanks, rk.

howdy, i'm prepping a red shot short in the next few weeks and have some questions about lenses. i recently shot a feature with the red and zeiss distagons. for this film, the director wants the camera close to the actors, to enhance the feelings of closeness and exaggerate the feeling of isolation and foreboding when cutting to wider angles. his favourite lens is a 28mm and something tells me we won't throw on anything longer than a 50mm, expect for inserts. also, the director wants the picture as sharp as possible, to really emphasize facial details and overall textures. so i'm wondering if someone can recommend some primes that may be good for this aesthetic... fast, sharp, closer to subjects and wider lenses (no distortion of course) and good contrast retention when flared. thanks all!

thanks matt. i already shot the project, in 108024pA. now with the hvx, i always go 720p24pn. and i agree with you, that there is noticeable more noise in the 1080 footage vs. the 720 footage. do you think the transcoding to hdcam will make the noise even more noticeable? best, rk.

Has anyone shot HVX200 at 1080p and outputted to HDCam for mastering or screening? Wondering how it would look and if it'd be worth the deck and stock fee? Best, RK.

thanks guys, much appreciated! anything to be known for shooting 250D at high speeds, 60fps +? someone mentioned that 250D may not the right choice for this, but did that comment derive mostly from preference for another stock? thanks, rk.

sorry for this misunderstanding. i've always been told that using 35mm lenses when shooting with 16mm can yield a sharper image. is this a misconception? blacking out: i'm not entirely 100% sure of the process of this (i've never done it myself), but i've heard it must be done when you use 35mm lenses on a 16mm body. blacking out the gate or the back of the lens because of the size of the rear element of the lens in relation to the gate allows for excess light to possibly hit the stock. is this wrong, is what i've heard completely incorrect (i hope not).

thanks david. i'll go with 2/3 of a stop. if i can get some cookes (35mm lenses of course), will the effort of blacking it out be worth the increase in apparent sharpness? thanks, rk.

Starting prep on a project shooting largely with 250D S16. Searched a fair bit on this forum and found tons of posts about 500/100/200 tungsten stocks but not too much on 250D. Just wondering if the same approach to those stocks would apply to ours... Trying to get the cleanest, tightest grain image, should I also overexpose by 2/3 to 1 whole stop, process normal and then pull in the one-light or telecine to a normal exposure? Planning on doing a lot of slow-mo too, 60fps +, anything else to be aware of with this stock when overcranking? Thanks, RK.

Does anyone know if it is possible to record uncompressed onto Panasonic's new P2 recorder via the recorder's HD-SDI input using an HVX (and it's HDMI out)?

a simple rebuttal to your put downs of the series.... read the book. that'll change your perspectives.