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Oliver Hadlow Martin

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Everything posted by Oliver Hadlow Martin

  1. Oliver Hadlow Martin
    Wow just read the rest of this thread. Some serious hand bag throwing going on here. *quietly walks out the room*
  2. Oliver Hadlow Martin
    Well I couldn't have said it better.
  3. Oliver Hadlow Martin
    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.
  4. Oliver Hadlow Martin
    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.
  5. Oliver Hadlow Martin
    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.
  6. Oliver Hadlow Martin
    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?
  7. Oliver Hadlow Martin
    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.
  8. Oliver Hadlow Martin
    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.
  9. Oliver Hadlow Martin
    What a lovely shot. I should probably watch that movie.
  10. Oliver Hadlow Martin
    http://www.advantagegrip.com/fabric%20specifications.htm This site is good for description of diffusion type materials. Handy info. :)
  11. Oliver Hadlow Martin
    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.
  12. Oliver Hadlow Martin
    More like one of these?
  13. Oliver Hadlow Martin
    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.
  14. Oliver Hadlow Martin
    240v 32amp 10k gen with distro box. Use a qualified electrician.
  15. Oliver Hadlow Martin
    http://www.ryanewalters.com/SP/sekonicprofiles.html Scroll down to the profiles. Load Epic/ Scarlet settings it into you light meter. Job done.
  16. Oliver Hadlow Martin
    Interesting idea.
  17. Oliver Hadlow Martin
    I noticed recently that they have been posting a lot more. I like their twitter. Whoever they have on that is pretty good, posting informative stuff and interacting in a nice informal manner.
  18. Oliver Hadlow Martin
    Yes those look exactly like something I need. Time saving and cheapish too! Thanks. So just rig these thing in a radial circuit like a regular house hold? I'm assuming that should work? Any electricians here? lol [block
  19. Oliver Hadlow Martin
    So I need to create a rig of 150'ish incandescent bulbs (15w) in 6 sets (25 bulbs a set) which can be manipulated via DMX on different channels. I am not an electrician and all my work will be checked by one but my tutor said it would be something good to build and go an research on my own. So I have 25 x 15w cables (1.5mm) in 2 meter lengths that need to go into some type of terminal block of some sort and come out as one cable that can be powered off of a UK 13A regular socket. At 15W x 25 that works out as 375watts per block. But in case I can't source 15W bulbs I will go with 25W which is 625watts at 2.717 amps. My question is how do I go from 25 cables into one? Something similar but with a lot more lights. The wires into some type of screw terminal and then out to mains? With all proper neutral and earth in place. How would I got about this? Thanks :)
  20. Oliver Hadlow Martin
    I shouldn't laugh but I have seen this a lot. heh I guess I shouldn't everyone learns some way.
  21. Oliver Hadlow Martin
    And you would be surprised Phil at the amount of independent film-makers surveyed by AMPAS that stored their master archive on a "hard drive" in "no climate control". A lot film makers simply don't know that digital devices (ie HDD'S on a shelf) are extremely vulnerable.
  22. Oliver Hadlow Martin
    While I agree with most of what you are saying I still believe tapes could still be an issue. They still requires a machine reader to read said tapes. What if that machine doesn't exist anymore? You may have your material there but no way of accessing it. Shifts in colour film can be avoided by doing black and white separation archives. OR Kodaks new archival film which doesn't have the issue of fading (apparently) and stores the footage in what looks like something like LOG-C which can then easily be returned in a later grade. No one seems to know this new film exists though for some reason... And I don't think it is alarmist. We seem not to learn from our history. Over a century we have lost so much footage and heritage due to our failure to take preventative measures. So many tapes from the 50's onwards have been lost and god knows what else. Anyway I seem to have hijacked the thread. I do apologise TS :P
  23. Oliver Hadlow Martin
    You set a very negative tone sometimes and the sarcasm is not appreciated either. I'm sure it is a simple concept that hard drives break all the time. Plenty of stories out there for you to research I am not hunting for you. I'm not saying film is infallible but as a long term storage device it is significantly better than digital. The Academy of Motion Picture Science and anyone who has a very limited understanding of emulsion and digital formats will be able to tell you this. Digital storage is over time more expensive, more time consuming and extremely fragile. Digitally shot feature films are archived to separation film for a reason. You cannot trust Digital. Read the reports than Brian posted and you will feel educated, I guarantee it.
  24. Oliver Hadlow Martin
    Stored negatives are often pulled and scanned back in. Think of any of the new Blu-Ray high def releases. There are thousands of films that have been taken to blu-ray. I have read many a story where people have been screwed over by a digital format in as little time as 3 years! Film is proven, we can trust it.
  25. Oliver Hadlow Martin
    I'm writing a paper on it at the moment and really the only long term solution is film. Tape based systems like LTO are horrifically slow, expensive and just as susceptible to format obsolescence as any other digital format. Most of these LTO systems will only read up to the past two generations of tapes which means you have to keep a machine around. If it breaks? Well you're screwed basically. If you want future generations to hopefully see your stuff one day I would archive it to film personally.
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