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Tom Mitchell

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About Tom Mitchell

  • Birthday 07/28/1984

Profile Information

  • Occupation
    Digital Image Technician
  • Location
    uk, Norwich
  • Specialties
    Film making

Contact Methods

  • Website URL
    http://www.4kdit.com
  1. Though your right it could be a problem, I think that it is already being solved. There are alot more tools on the market for Focus pulling where a human is still needed to make a choice where a machine can't but you can get some pritty good touch screen point and focus touch screens and laser range finders for fast cars etc (i saw some great tools at the BSC show this year). where you have extreme shallow DOF this would be useful or a necessary. Though the question becomes how shallow is too shallow?
  2. I did think it was just a typo/miss wording, but i just went in to detail more so for outer people reading that might not know. I also forgot to add the other limiting factor in shutter angle, is that you got to move the next frame in to the gate under cover of darkness, or you get unwanted vertical blur. So it also a physical issue how how quick you can do that and not break the film (even at higher frame rates). How ever, at this point is where i start to know less about how this works. in high speed film cameras they have a system with no shutter but a spinning prism that matches the speed that the film is continuously moving through that camera. I think that gives you a 360 shutter or close to. I'm sure other peeps can expand on that.
  3. 200º is reference to shutter angle, not aperture which is something entirely different. The shutter is essentially a spinning disk of set to one side, where a slice has be cut out of it. That slice size can be changed, but the standard is 180º so half the disk is missing. The effect when you increase the angle, is that you let more light in but also increase the time the fame is being exposed increasing the motion blur that is incurred. and you get sharp crisp images in small shutter angles like 45º. There is a section of the shutter that has a mirror on it, to bounce incoming light to the eye peace, so you are limited to the maximal shutter angle by how you fold up the sections of the shutter but also the size of the mirror. as far as I am aware this can vary from camera to camera. when comparing shutter fractions with angle you have to remember a fraction is a measurement of time, and and angle is a fraction of fraction. Lets take UK and US standards of 25FPS and 30FPS at take 180º as the shutter angle. 180 basically meaning 1/2. @25FPS 180º=1/50th thats 1/25 divided by two. and 30FPS 180º=1/60th. And as for aperture, that is the hole the light comes through at the front to the camera, that can increase or decrease. it is measured in F stops or in film T stops though the numbers are the same. Increasing the aperture size will let more light in and decrease the depth of field (the Z distance that will be in focus) large apertures are represented with smaller T/F stops I.E T1.3 and small apertures (lke a pin hole camera) will have large numbers T16. (T stops measure actual light entering the camera post loss from diffraction and diffusion of the glass elements in the lens. and F stop is the amount of light that should be going through the lens and doesn't account for any loss.) T stops are used in film so we can mach lenses of different sizes and manufacture and get the same exposure.) There you go a bit of 101 film making for you hope that shed some 'light' on the situation
  4. I don't think you shouldn't get paid because you do it for the love. unless you do it as a hobbies aside from your job you have for you income. By that account supermodles who do it for the love should work for free, and bin men should be paid millions as they probably hate what they do. I have to pay the bills and eat so I don't feel bad at all in any way for asking for money. I too worked for free to learn my trade, I don't think that was right but i did it, and it seems to be the way to go for most people. If your a trainee plumper or mercanic you still get paid! not getting paid whilst your training in film is an exception to the rule, not the rule! And just because a job is horrible dosn't mean you get paid loads, and just because you love your job dosn't mean you should work for free. Especially when you spent hard eared cash on a degree and training and working every hour god sends to train up and make contacts. I think the point of poking fun at this add was to point out (free or not) is, would the experience you got from working on it be of any use, would you intern be learning from anyone with any valuable experience them selves? Good idea on the alternate method of getting paid. I used to take lighting jells cutt offs and props and consumables from freebies as form of payment (with permission of corse) and excuse my little rant:p
  5. Solid State is more reliable than tape. all formats have issues. but tape can disintegrate, get chewed up, condensation on the tape will cause break up, It's bulky compared to solid state, you can only reliability use it once. Solid state is the future(Sorry i meant present) and I have been recording on it for quite a while, and tape even longer before hand. you can play back strait away to see if you have it, you can back it up faster than tape. and as you said alot of the time the data can be recovered should it get corrupted, which almost never happens. I bet mirrored solid state isn't that far off. To answer the question The cannon is a stills camera that happens to shoot video. you can get some good results out of it. but at the end of the day it has lots of issues with recording video. It's a great camera and it defanlty has it's applications. But the 900 is by far the better camera, as far as the output quality of the footage. but youhave to ask your slelf which is better to work with? The cannon has some serious rolling shutter issues, It used line skipping witch means it dosnt handle the fine details in the image very well. being light you going to need a solution so that hand held doesn't feel like a pocket cam, and it shoots to a delivery codex that is very highly compressed. etc etc all that aside if its for youtube then whats the point to shooting with a top of the range camera if you going to compress the hell out of it. if you can't aford it, if it doesn't produce the look you going for? then whats the point? I not going to make the choice for you, your the DOP that your job, but rather I'm just giving you few things to think about.
  6. I'm sure there may be a formula for panning speed, but the real question is dose it look good? Dose it work with whats going on? Though it is useful to understand and take apart the elements why things look good. it is important realize that it is not a computer watching the result but a human so go by your judgment. If it feels to fast. then it's too fast. What feels too fast for one thing may not feel fast for another. for example a whip pan is very fast usefull for switching back and forth to action in a high energy scene but horrible if you shooting a landscape. so here is you formula practice + experience + observation = Panning speed
  7. how fast do you want to go?, 75FPS and 100FPS on film is fairly easy to find in film cameras but when you go faster you end to need a more specialist. and is it film or digital you want to shoot on? as you ask how to record hi frame rates for film then ask for video manuals? Digital there the vari cam, or red at 2k giving 120fps Is it the camera you looking for? or tips on the techniques of filming at hi fps? I understand your from india so English is not you first language but could you be more specific on what you want to know, or you find that you wont generate any responses as no one will know how to answer your question.
  8. Ok i didn't notice the first time I watched it but, i didn't watch at full rez or at full screen my bad. I now see it in the right third of the screen half way down. No that's not normal, at the worst case it could be a dead pixel, in that case refer to your warranty. Try giving the sensor a clean, it could be just some dirt or dust, both using the camera self clean, and failing that get a sensor cleaning kit and give it a clean. make sure you read up on how to do this properly or you could damage the sensor. I don't know if the camera has a black balance feature but run that too see if that makes a difference. also I seen damage to sensor from lasers, though the tend to take out several pixels at a time, though i'm no suggesting this is the cause, pixels do just die sometimes but just useful to know when your in a night club etc. we lost a red sensor to a laser the damage, we knew the about it at the time but the powers at be chose to risk it. It tends to look like a dotted line across in the path the laser hit the sensor (its dotted because the laser swtiches on and off at a high frequency) I hope that is of some help
  9. Ok this is a rolling shutter issue the reason you get it with a flash and not a tungston bulb. Is the flash starts and finnish before a single fram of the camera is exposed. a tunston bulb will take a while too cool down and will expose for at least a fram if not more, and the rate in whitch it dims it far more gradual and less far less noticeable. The camera downloads from the chip a line at a time from top to bottom over say 1/30th of a second or 1/24 of shooting at 24fps. the flash fires much faster, So it causes banding where part of the image is exposed from the flash, and the flash has gone out before it reaches the bottom of the chip. Film cameras suffer form this because they have a spining shutter. And RED as well as many other digital cameras have this issue, though it by far worst in the cannon. this is a common issue and there's no real get around. remember it's a stills camera at the end of the day and thats what it's primary designed to do, so it's not going to be a master at video. it's still dam good. it's a shame they use a video codex to record to that is considered to be a delivery codex there so much information lost in the image because of that, but i digress. Ajusting shutter speed doesn't get rid of the problem but some times it can help, though you effecting the motion sharpness of each frame and the further you go from a 180 degree (thats 1/60th at 30fps) shutter ther less 'normal' it will look. in short your cameras not broken but there's not much you can do about it ether. The saving grace is that 99% of the average joe watching it wont even notate.....especially with that subject matter:p
  10. Yes I have been DIT on some 3D stuff on the RED and SI2K worked with a company called paradise FX they are LA based. They came over here (UK) to do a feature I sure they be interested, and more than capable meeting your needs both shooting and post solutions. This is what I picked up whist working with them, should give you a short overview i'm sure others can go in to more details. Shooting wise using the split beam mirror you loose a stop of light in both cameras, so night work tends to need a bit more heavy duty lighting. But the saving grace is the new MX sensor Red has just released that is capable of shoot at much faster ASA's, so if you can get your hands on them, the saving in lights might outway the cost of renting a upgraded rig. The redone rig is big and therefore needs a fairly substantial head and dolly to support it but there are smaller light weigh solutions using the SI2K for stedi cam etc. Scarlet and epic when they finaly come out should change the big and bulky problem. You get about 400K color temperature difference between cameras because of the mirror this tends not to be any issue but worth noting. if your planing 'high end 3D' I don't realy see the 5D as a valid solution as you can't get frame lock as far as i'm aware on both cameras and no way to stop them from drifting. this is very bad for 3D. there great for students and people who don't have budgets to shoot there shorts on, as well as getting the shots you couldn't get with any outer camera but for 3D :( (I know there are, and I have seen mk2 rigs out there but for proper stuff i'm talking about here) Its not a matter of putting two cameras together and calling 3D theres a little more to it than that, it might be 3D but you will go uch when you watch it. you need make sure the 3D will work and not have to constantly adjust your eyes to every cut. a question that some times get asked is dose it take longer to shoot? no in short, but you do need extra crew members, in particular a stereographer who is like a focus puller but for pulls 3D instead. When your shooting in 3D most of the world is still views in 2D so you always got to keep that in mind and shoot it to work with 2D. 3D tends to work best on wider lenses, so 100mm is as about as extreme as you want to go. You also tend to want to stop down on the lens more and and try to emulate the human eyes depth of field, too shallow and all you get as alot of blurry 3D. when viewing you tend to want to look around a bit more so more DOF is better, (you still need to tell a story though) thats about all i can think of, off the top of my head right now.... I know 3D is relatively new to most people, and there are lots of opinions out there i can only go on what I have learned from what little experience working with it, though i have been interested and been studying it for a while now. I be interested what other people have to add and shall be follow this thread with much eagerness.
  11. you might want to check out voltaic solor bags, buy a few of theses should do the trick. and when u do have power they have there own battery you can charge to say from a inverter and a car. http://www.voltaicsystems.com/bag_generator.shtml. im really tempted to buy one for my self for my portable DIT gear
  12. gah again ment to hit preview not post wasn't any near right. dam and blast me edit it to correct. foot truly in mouth now:-P wanted to re word some of it too still sounded harsh well that's two lessons learned. The above message seems to imply that I think you didn't try everything first before posting and that's not the case. it was ment to say 'I was making the assumption' gah just wanted to say sorry thats all. slaps hand.
  13. Firstly Gahhh. after re reading my post i can see how it provoked such a response. I meant no disrespect and i apologize if any offense was implied. I too am well versed in Avid, FCP, and Prem Pro even played with vagas uch. I to only know too well the pitfalls and frustrations of trying to solve an annoying problem. But if i was to have a problem with avid i would first look for it on avid forums and would i do so with adobe etc. more than likely you wont even have to post as some one elce already has had the same issue. If you do end up posting your audience are much more likely to be equipped with the answer. sure, I'm making a assumption that you didn't do this already? then theirs just a plain Google search. I hardly have to post questions my self because of this reason. I find that only too often people find them selves posting the same questions over and over again with out trying to find the answer first. I should have just said nothing it was late when i posted it and i was perhaps venting and sorry again.
  14. Distos are worth the investment, be sure not to point the thing near the actors eyes though, i think u find the center of the chest when upright is the same distance as the eyes.
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