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Karel Bata

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Everything posted by Karel Bata

  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! ;)
  14. Thanks Phil, That all seems a bit cumbersome! And deliberating reducing the latitude by 9% a bit drastic! There must be a better way. Here's a comparison from off the monitor, and off my TV. (ps I meant AE not IE!)
  15. Hi, When I record stuff on the Sony NEXFS700 everything looks fine in the monitor, with the highlights just clipping in the histogram, but when I dump the material to my Mac and import into VLC or IE I get horrendously overexposed images. Putting the card back in the camera, it looks fine on the monitor, and looks great on my TV via the HDMI. What's going on? I reckon it's a colour space issue. But what do I need to do to fix this? If this has been covered before then please point me to the appropriate thread. Cheers! ;-)
  16. We're going with the metronome suggestion - using the one in Garageband on a Mac laptop. Big day tomorrow. You can see us in action on the live webcam here (and I really hesitate posting this here!): The Seduction - Live Stream Thanks for the input! ;)
  17. I've sent John a mail. Fingers crossed! ;) I found this page reviewing hand-held laser tachometers interesting http://makezine.com/review/tool-review-dt-2234c-digital-laser-tachometer/ But hand held isn't too useful. Do those made for motorbikes work on the same principle - a laser that makes no contact? This is not my area at all. :wacko:
  18. I was just typing much the same idea! A strip with a printed series of bars laid on the floor next to or under the track. And a strobe light whose frequency you can adjust. Dial in the correct frequency, and as you push at the correct speed the pattern appears to be static. Go too fast or slow and the pattern appears to move telling you whether to slow down or speed up. If anyone takes this idea forward into a marketable product you'll have to pay me royalties! :D This would be a great idea if you expected to be doing this again, but for the one shoot the R & D is a bit much.
  19. Ah. Sanjay, we cross posted. These are layered rather than stitched. You're right - looking down the axis of travel means the major motion cue is scaling which means there's some scope to do a little fix in post. But 3D is very unforgiving. I'm really surprised that there's no gadget for this. There's a gadget for everything else! We're doing this in London. I'll PM you.
  20. We'll have 8 x 8ft of track, and anticipate that maybe 50ft of that is usable. In 3D you can't zoom like you can in 2D, so we have to do the move for real. Originally we had a PeeWee booked, but we're not rising in shot, so It's a flatbed, bazooka, and paddle arm, all tied firmly down. For two days this stays locked together. We're looking at a bicycle speedo. Put a magnet on the wheel, and use a magic arm (and gaffa tape!) to hold the sensor close by. Here's the manual http://sprockt.com.au/Product_PDF/CC-VT210W_ENG_v2.pdf The minimum programmable bicycle wheel size appears to be 102cm. A dolly track wheel would be a lot less and give a very high readout. Max displayable speed is 65.9 Mph. That's about 100ft/s. We'll be going at 3ft/s (shooting at half speed and doubling later), so the minimum wheel diameter is 3cm. So it could do it. But without drilling holes into the wheels, how would we attach the sensor magnet? The slightest movement over two days would render the system useless. Scratching our heads here. It's fun thinking these things through, but time consuming. Still, we've got a week to figure something out. :)
  21. You weren't to know JD, but we're going to be repeating the same move in 4 different setups in 3 locations over 3 days. I doubt there's a grip on Earth that can be that consistent. Especially after lunch. I really do have enormous respect for experienced grips. But this is rather like expecting a focus-puller to do it by eye. We could use a simple belt and motor, but I can't find one that doesn't come attached to a MoCo rig that costs the Earth. We've been quoted £5k. Here's what we're doing https://vimeo.com/70469750 Any ideas gratefully received...
  22. It doesn't have to be accurate, but to act as an aid to getting a sequence of dolly moves at consistent speeds. Any ideas? We're on a tight budget. Cheers! B)
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