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Mitch Gross

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Everything posted by Mitch Gross

  1. I agree that "crop factor" is far more confusing than helpful. I hate it. You may find this tool useful. http://www.abelcine.com/articles/index.php?option=com_content&view=article&id=548:field-of-view-comparator&catid=24&Itemid=45
  2. If we knew where you were perhaps we could suggest places to go. From AbelCine, the Phantom HD Gold is $2500/day. The Flex is $3000. The large 512G CineMags are $1250/day. Lenses, tripod, etc. are extra and ala carte. You hire a Tech freelance -- we have a list on our website. You buy tourism harddrives because you'll keep them in the end.
  3. That is the ARRI collapsable core. The Idea is that sometimes the regulate core gets stuck on the spindle a bit and the film can cone as you remove it from the mag. It is definitely better to stick a regular 2" core inside there after you pull off the film. Otherwise the stick could unspool some in the center and then the lab may end up scratching some film when they try to insert a. Core (which they have to do).
  4. In calculating running costs for shooting S-16, I like to use the multiplier of US$20/minute. I arrived at this number a few years back (raw stock + processing + basic best light transfer) but last time I checked the calculation held up close enough, depending on where one gets discounts. So 150 minutes/day of S-16 will run US$3000.
  5. Yes, optical effects. I think this is covered in an old issue of Cinefex I have somewhere. I believe there was some slit scan work done in there. Very nice textural effect. Today such a thing in CGI would likely appear clean, perfect & plasticy.
  6. The Panavision website has some excellent depth of field and field of view calculators.
  7. Um, maybe because it's a good movie? And it's not so terribly old. I remember when it came out as I presume David does.
  8. The vast, vast majority of the movie was shot on 35mm film. There are a handful of shots on RED and a handful on Phantom. Don't know if anything else made it into the mix. Based on screen time, it is likely 99% film. Based on original material captured, it is probably 99.9999999% film.
  9. You cannot get a clean output from the Canon cameras. There is always data information overlaid on the image. You could record it, but so what?
  10. It's like asking which one is "better", green or yellow? Better has nothing to do with it.
  11. John, I had to read that double-negative about five times before I was completely clear on what you were saying! ;-)
  12. Sorry, not allowed to say.
  13. Aaton is doing it in 35, not for their S-16 cameras. In today's world, the vast majority of interest is in 35mm-sizedimaging, not S-16. Tastes may change, but a manufacturer has to go to where the demand is.
  14. You might find this useful. http://blog.abelcine.com/2011/04/20/nab-11-hdx-optical-adapters/ http://blog.abelcine.com/2011/04/29/footage-from-the-hdx35-and-sony-f3/
  15. We sell the MY-T Works slider system because it is so well designed and versatile. The slider tray itself can pop out of the track to become a little hihat stand or go into a little car with rubber wheels. Pretty neat.
  16. You just need the appropriate groundglass. 1.33 is inside of 1.66 on a Super-16 camera. They share a common height and only the sides of frame change. It depends on whether the conversion of a particular camera allows for recentering or not for an appropriate groundglass.
  17. Final versions will come in any color you want as long as it's black.
  18. Super-35. The sensor is 24.7mm x 13.1mm, requiring an image circle just shy of 28mm.
  19. Why not get a Ki Pro Mini so you can stay in ProRes?
  20. AbelCine (me in particular) has been been working closely with Element Technica on the development of accessories for the F3. Currently these are prototypes and there will be a few adjustments along the way. We are working with ET & Sony to protect owners. Once we all figure it out we'll let you know. Pricing on these topside accessories as well as the riser with integrated lightweight 15mm rods & shoulder pad will be announced as soon as we lock down the design to determine costs. It's all gonna be really sweet. What ET accessories did for the RED One is what they will do for the F3, even more refined.
  21. Sony "degraded" the camera at the end of the show. It was still Beta-firmware with some functions not yet working fully. The demand has been very heavy and they are rushing to have it available as soon as possible. I don't believe we've set pricing on the upgraded version.
  22. That shoot was more fun than a barrel of monkeys. Those guys came up with the idea to shoot something when they saw we had the S-Log upgrade. In a matter of hours they had a bunch of things planned out. Around three o'clock I heard that they were going to walk around the Vegas strip, but come six when the show ended they had arranged a helicopter for dusk and some models for early the next morning. The window we gave them was from 6pm (show close) to 9am (show opens again). They were a little late getting back but all was well in the end. Nuts, really.
  23. I personally found this shot to be the oddest, most out-of-place bit of lighting in that film by far & wide. It really drew attention to itself in a huge way, snapping one right out of the movie. It was like they were driving past someone putting on a concert out in the desert. Not sure if there were 18Ks at the time, but I'm pretty sure 6K pars were around then. nd of course 12K fresnels. Or maybe they just parked a Musco truck behind a big rock.
  24. This 21st century camera is revealing the limitations of a 20th century lighting instrument. Sometimes people will mix in a bunch of HMIs and this will help hide flicker so they "get away with it." but as you tested, they can flicker. Every individual light will be a little different, and will react differently based on the harmonics of the local power on the day. It really is a crap shoot with HMIs in high speed. As to your noisy blacks and vertical striping, it sounds like you needed to black balance the camera more often (aka current session reference). An experienced Phantom Tech would know this.
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