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Karel Bata

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  1. Professional half-silvered mirrors are expensive. The 50/50 has to be spot on, and you don't want a color cast. Also the film you mention is likely to add distortion to the reflected image. Those, and other, problems will be 'baked in' into your image if you're using one camera. A cheap alternative is the type of mirror used in teleprompters. That second conventional mirror will have to be front silvered. Be aware of polarising issues. You're going to have mega problems with adjusting your mirrors to get a decent line-up, and this rig will get knocked and need readjustment every time you move the camera. You'll need to get the 3D perfect each time you shoot as you won't be able to adjust it in post. Do you not plan to adjust the inter-axial separation of the cameras? You'll quickly discover that you need to. Gels. Use gel not colored plastic. The tolerances are much better. You really don't want cross-talk. Rosco are excellent. Get a swatch book and experiment before you commit. Looks like your setup needs a relatively long lens, and 3D doesn't work too well with long lenses. I think you're better off with 2 cameras... I put together a rading list here. http://bit.ly/S3DReadingList The SKY link is a good start. I'm surprised it's still there! Good luck 😋
  2. https://www.ebay.co.uk/itm/Arriflex-16SR2-PL-Mount-Movie-Camera-Batteries-Arnold-Richter-Switch-Accessory/142980538752
  3. There was a time when I would walk into a trade show and understood everything there. Anton Wilson's articles in AC were my relaxation reading. Then came computers. Now everything is a computer of some sort. Just learn what you need to. I bought an FS5 and Odyssey 7Q+ a year ago for my own personal stuff. It works great, but there's stuff in there I haven't much idea about. And why bother?
  4. This thread is a bit like saying you want to bake cakes but don't want to be bothered with recipes, and knocking folks who like getting down n dirty in a kitchen. Fact is, if you find technology such a chore then maybe cinematography isn't for you. You can't divorce the two. That's just silly. Or... Just leave all your settings on 'auto'. Then wonder why it doesn't look how you thought it would and blame the camera...
  5. If you don't like 3D there's a simple solution: don't go.
  6. The London 3D Film Festival is a celebration of independent S3D film from across the globe, an opportunity for peers to meet, and a chance for the public to engage with the very best in Stereo 3D. L3DFF is run by a group of 3D professionals keen to promote the subtle artistry of what is the most significant development in cinema since the introduction of colour. For the 2014 Festival we will screen 3 programmes showcasing 50 shorts, premiere 2 independent 3D features, and 3 3D classics. We will also have a few surprises in store. The range and breadth of what we’ve seen has really impressed us, as it will you. Submissions open late August. Website: http://L3DFF.com Mailing List: http://bit.ly/L3DFFMailingList Twitter: https://twitter.com/L3DFF We hope to see you there!
  7. This event has been moved to 19/20 November. I'll re-post. Note to any admin: please feel free to delete this this thread.
  8. We're working hard here on putting together the first London 3D Film Festival. The L3DFF is run by a group of 3D professionals keen to promote what is the most significant development in cinema since the introduction of colour. We see 3D as not just the province of Hollywood blockbusters, sport, and wildlife documentaries. Good as they may be, there really is so much more. We will screen 50 Stereo 3D shorts across 3 programmes, along with 3 classic features. We'll also have the UK premiere of the independent 3D feature Charlie Victor Romeo. Submissions for shorts opens at end of August. For updates you can join the festival mailing list at the bottom of http://L3DFF.com If you want to help out, or be a sponsor: contact.us@L3DFF.com We look forward to seeing some of you there!
  9. Hmm. I'm still left confused as to what happens when I render stuff out. I've now discovered that when imported into Premiere it displays OK. So why not when using AE? I need to go back to school for a bit... :unsure: Thanks for the input Phil. . Oh, and yes I am very tempted to buy one. The AbelCine picture profiles, the SpeedBooster combined with my stills lenses for low(er) light high speed work which really does open a whole new door, the 4K capability... Wow. (I'd rather have a F5 or F55 of course, but can't justify that financially)
  10. I remember 5DtoRGB now. Looks most promising. I'll look into that. Here's one of the files (not the best, wouldn't post that here ;) but good enough) http://we.tl/s07DXthoVr 168MB
  11. Been playing with the camera. The problem is MUCH more evident in Super Slo Mo mode, such as in the footage above. Just found the FS700 Picture Profiles at Abelcine http://blog.abelcine.com/2012/09/18/sony-fs700-scene-files-from-abelcine/ I'm using the first one and this helps to some degree, but isn't a total fix.
  12. Looking forward to that. ;) The SB makes the FS700 look even more attractive.
  13. Andre, you stated: "so the FS700 with low T-stop + speedboster is very smart under those conditions" Have you used the speedbooster? With the FS700? How well does it perform? Can you post any clips with some tech data? Cheers! ;)
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