Mike Lary

'Side by Side' is a good documentary that focuses on this question and interviews some top dogs in the industry. What is your definition of an "actual professional"?

By transcoding and dropping your resolution you're throwing away a ridiculous amount of data. You should always grade from the raw data. If that's not possible at least do a primary correction in REDcineX before you transcode.

Since the image size of the pocket camera is less than 2K you can use the lite version. The 2.5K camera requires the full version of Resolve.

I would spend the time in pre-production figuring out the logistics and avoid green screen unless I had a competent compositor committed to the project.

You could credit him as Lighting Director, then. The fact is that he didn't perform the role of Cinematographer / D.P. and therefore does not deserve that credit. This is actually not confusing at all. Just take this person's emotion out of the equation and use logic.

Editors don't get credited as writer or director when they "save" a film. People need to keep their egos in check and accept the credit for the actual services they provided.

I guess I need to rethink the value of that speedreading class I took...

The H is for "half vertical resolution". That mode supports higher frame rates but at a lower quality level. The user manual lists the differences pretty clearly.

"An adapter will still allow for SxS PRO cards to be used for ProRes." Where did you see that information? The article says the XR module will record RAW or ProRes but doesn't specify an adapter for SxS Pro.

If you can make your money back fast it might be a good investment, but you need to consider purchasing a RedRocket card as well to increase transcoding speeds. It's a tried and true system (unlike the BMDCC), so you shouldn't be in for any surprises if you do your homework.

WTB Used Cooke S4 135mm

I have no interest in shooting in compressed 1080 mode (although the image does look good from the tests I've done). The main attraction of this camera is its raw capability. I wouldn't sacrifice raw capability unless a workflow demanded ProRes right out of the box, and if had to shoot 1080 I definitely wouldn't use a lens that vignettes.

Mark, your quote from Mitch Gross says there is no option in-camera to do the crop. He's referring to the compressed HD option. If you shoot raw you have the full 2.5K image and you have full control over that image. Unless you crop it to something smaller than 1080 you aren't losing resolution and won't lose image quality. What you might lose is the benefit of supersampling, but as another poster noted the difference probably won't be noticeable at these resolutions.

What you're describing is a bayer pattern, which is widely. The reason for the additional green pixel is related to luminance, not chromaticity. Your issue is most likely caused by internal processing in the camera. You aren't recording raw data, so your white point is baked in. I would look at the custom white balance settings / matrix settings in-camera and tweak the white balance / dial out the bias.

Sorry, no. I haven't done this personally, so I'm just throwing out ideas. I would look at battery operated options, maybe something along the line of a small electric blanket that could wrap around the camera without getting in the way (maybe check pet stores or hunting supplies stores). It should maintain consistent temperature and not get hot enough to affect the film in a negative way, so it would need to be adjustable. If you have time to test for a few hours in the cold that would be best. It sounds like you won't have much prep time on this shoot. I hope it works out for you.

If I remember correctly the original Bolex documentation recommends having the camera serviced before using in extreme cold (something about a special grease that's needed). Since that's not an option I would try to keep the body warm, not only to avoid mechanical failure but also to keep your emulsion from slowing down and ruining your exposure. You could try something similar to what folks do with digital cameras to keep them from overheating - use packs on the sides to keep the body temperature maintained. You also need to watch out for sudden temperature changes because that could result in condensation on the film.

Disregard.

You should take a look at Ivan's Childhood (Tarkovsky), particularly the scene where the main character is acting out a war mission in his room in the dark.

Look LUT-building tools work by making a before / after comparison of a target image. There's no way to do it with a single image. You'd have to backwards engineer your look to create a LUT. If you can create a look that matches your desired aesthetic (using curve adjustments, etc) you can use Resolve (generate LUT from current grade) or PS6 (create Layer LUT) to create LUTs. There's a lite version of Resolve which is free and PS6 has a 30 day trial, so you could bang out all the LUTs you need without incurring any additional expense.

You're probably thinking of compensation they made for the color shift introduced by the mirrors on their 3D rigs. That had nothing to do with HFR. HFR has less blur, and that means more detail. More attention needs to be paid to makeup and set design. Think of when high resolution digital cameras came on the scene and started seeing through thin washes of paint on set walls and exposing flaws in actor's skin. HFR will kick that up a notch.

Jonas, This was probably (almost definitely) caused by the CF card reader. All the readers I've tested, with the exception of Red's, have trouble maintaining data integrity during copy operations. The corruptions seem random because you can sometimes run several cards through the same reader, or even run the same card through the same reader, without problems, then suddenly a corruption happens. You won't have this problem with Red's CF card readers because they were designed specifically to address this problem. Adrian mentioned checksum programs. For Red footage, R3D Data Manager works great. It will not only checksum, but also copy to multiple destinations simultaneously. The only drawback is that it takes a lot longer than a straight copy, but you'll save time if copying to multiple destinations.

It's already become popular and it will wear out like most trends. A way to gently push them away from it might be to use LUTs on set to alter their preview. After all, they like log because they've seen it so much. Give them something new to look at. Just be careful or they might fall in love with your LUT!

Weather permitting, I would shoot on an overcast day and light the interior to balance, but that's if I had the luxury of time. Another option would be rewriting the scene. You could cut from a POV through the window to a reverse of the character exiting the building, backing up with him/her, then let the character cross camera and come behind with a fluid motion and follow. This could incorporate an iris rack if needed.

There are patents (or pending patents) for folding/nesting leg designs and locking mechanisms (spring loaded grip heads, etc). Any deviations from the original design (one pieced welded) could have patents associated. A patent research specialist would be the right person to ask, though.

It depends on the camera and whether you're shooting raw or to a codec. If you don't have time to do proper testing, measure with a light meter in the traditional way and check the histogram for clipping. Don't ever judge exposure by the image on the monitor. Ideally you'd do bracketed exposure tests in a variety of situations and run the footage through post to see where it breaks, how much detail you can pull out of the shadows, etc. Then you'll know what varying exposures in different lighting environments will give you and you can target exposure more precisely on set.