Oliver Hadlow Martin

Wow just read the rest of this thread. Some serious hand bag throwing going on here. *quietly walks out the room*

Well I couldn't have said it better.

Use a haze machine not a smoke machine. Smoke is smoke (will look like a fire on camera if there is a lot of it). Haze will give you the shafts of light you are after.

One benefit which was not mentioned is if the lights are being used on location through a 13a mains plug (uk) the start up draw would be less if switched on one after each other. Rather than one big start up draw. I believe thats true anyway, maybe someone else knows differently. Oh wait if you are in the us I think it's 1800w max per breaker (15a?) anyway so that kinda makes that pointless anyway.

Yeah I meant p3 monitoring. As in a LUT applied to the monitor not actually record in P3. You are right p3 is close to Rec709 but it has a gamma of 2.6 and more saturated greens in its gamut. I just looked into ACES I hadn't seen that before. Looks very interesting and something that will eliminate a lot of the problems from camera to post.

Very enlightening, thanks for the responses. One thing that occurred to me is that there is no P3 setting on any of these cameras? Why is this? In the case of a theatrical release wouldn't this remove on of the steps in post? Or would the production actually incur costs from having to use more bespoke monitors/ equipment?

Quick question. So if your main delivery is TV would you monitor in Rec709 (2.2gamma) and record in raw, slog or whatever (knowing you have more room to spare in post)? And what If your delivery was a DCP or cinema release what would you monitor in then? Still Rec709, knowing you could both delivery for TV and cinema release fairly easily? Cheers, Ollie.

Ah that sucks I thought it was a good funny/ cute video. The jump cuts at the end were a little off for me but as you said you had time restraints. Good luck with your future endeavors.

What a lovely shot. I should probably watch that movie.

http://www.advantagegrip.com/fabric%20specifications.htm This site is good for description of diffusion type materials. Handy info. :)

http://en.wikipedia.org/wiki/Circle_of_confusion In simple terms its where a cone of light converges onto the sensor at a single point where it resolves at an acceptable focus sharpness. Each sensor size has a different circle of confusion which then has an effect on the depth of field (the near and far distance calculations change depending on the COC). It is handy for planning some shots in pre-production. It helps you work out the acceptable distance you can push that T-Stop before your shot goes out of focus. Steadicam shots for example where the dynamic movement of the person can change a lot. I don't know what a DCS is though but I presume from the context it is some type of DIT or technical assistant.

More like one of these?

Looks great. I look forward to seeing what people do with it. Having said that and despite him saying it holds highlights better than film I still find the aesthetic roll off of film more pleasing? But amazing camera none the less. Id assume Arri are the type of company to just release the camera and not do all the hype before hand? A 4k (at least) camera seems a little overdue by now.

240v 32amp 10k gen with distro box. Use a qualified electrician.

http://www.ryanewalters.com/SP/sekonicprofiles.html Scroll down to the profiles. Load Epic/ Scarlet settings it into you light meter. Job done.