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cole t parzenn

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Everything posted by cole t parzenn

  1. cole t parzenn
    I'd imagine focus pullers appreciate HD monitoring but what else?
  2. cole t parzenn
    How do the two transport mechanisms work?
  3. cole t parzenn
    The way you guys talk about MP cameras, I thought they didn't wear out, at all, especially big German ones - how do you break an Arri 765?
  4. cole t parzenn
    That's sad. What happened, to the other seven?
  5. cole t parzenn
    What does it mean, to "discontinue service," of a camera.
  6. cole t parzenn
    Ozu and his 50mm?
  7. cole t parzenn
    Certainly safer - even professional stunt crews get hanging wrong! (E.G., "Back to the Future Part III") Yikes!
  8. cole t parzenn
    What's your current 5K?
  9. cole t parzenn
    Birdman's that film I keep not getting around to seeing; I just popped in to note that Lubezki is now the first person to win the Academy Award for Best Cinematography in two consecutive years. The honor of winning Color (Special Achievement) in two consecutive years, however, still goes to just William Howard Greene.
  10. cole t parzenn
    This all ignores theater design, video formatting, and where you're sitting, of course.
  11. cole t parzenn
    Ooh, pretty! Which frame lines did you end up using? Have you shot anything at T1.3, yet?
  12. cole t parzenn
    deleted
  13. cole t parzenn
    So, was 1.66 used more for technical reasons than artistic, then?
  14. cole t parzenn
    Why did 1.66 stick, in Europe? (Or did it?) Is it so hard to switch between 1.66 and 1.85? If 1.85 was considered the most drastic crop you could get away with, how did 3- and 2-perf 2.35 come into use?
  15. cole t parzenn
    1.66 is beautiful; I wish it were used more. I've never understood the argument that 2.35 is "hard on humans." If you're sitting reasonably close to the screen, 2.35 draws your attention towards the center of the frame. That's where faces go, in a close up. Gordon Willis liked 2.35, for dramas, because it lends itself to group shots.
  16. cole t parzenn
    6K is 50% greater than 4K. I'm curious, what's special, about 50%?
  17. cole t parzenn
    My question was, "what's special about 50%?" Am I interpreting correctly, that there's nothing special about 50%, it's just how the Arri engineers got 4K and 6K scans, from a 3K sensor?
  18. cole t parzenn
    How much time does a lens change typically take?
  19. cole t parzenn
    That is, why 50%, not why does it oversample. Grazie.
  20. cole t parzenn
    How wide is too wide? If I'm visualizing it correctly, a long lens emphasizes the distortion and a short one deemphasizes it but the distortion is always there. Also, since heat distortion is partly a consequence of depth, wouldn't an extremely long lens deemphasize the distortion, as well?
  21. cole t parzenn
    2880*1620*12*24=1,343,692,800; 2048*1152*12*3*24=2,038,431,744. ProRes 4444 must use >6:1 compression.
  22. cole t parzenn
    How does ARRIRAW produce more data, than ProRes 4444? They're both 12 bit, I'm led to believe, so ARRIRAW's 2x pixel count should produce a third less data than ProRes's three channels. Presumably, lossless compression can be applied equally.
  23. cole t parzenn
    Could you lower the hd extraction? Who's fighting against letterboxing? What makes ARRIRAW more expensive than ProRes 4444?
  24. cole t parzenn
    How much slower? A color temperature filter's two stops, correct? Would that make the speed difference between the blue and red & green layers one stop or...? Why is the blue layer grainiest?
  25. cole t parzenn
    Could you elaborate?
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