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davide sorasio

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  • Occupation
  • Location
    New York
  • My Gear
    Red Epic, Red Scarlett, Arri Alexa Studio
  • Specialties
    Camera assisting

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  1. Hi everybody, I was reading a previous issues of "Film and Digital Times" and I came across a portion in wich the editor ask one of the lens engeneers behind the signature primes: -Q: "What happens with a large format lens like a signature prime on a Super 35mm camera like an Alexa SXT?" -A: "The LF lens looks the same as the S35 lens. An 18mm LF lens on the S35 camera looks just like an 18mm S35 lens on the S35 camera" Maybe I lack of knowledge, but I thought we were going to get a narrower field of view. So following the same logic for example if I put a 50mmn Master prime on an Arri 416 plus my lens would give me the same FOV as, for example, a 50mm Ultra 16 prime. I'm really confused about what happens when we put a bigger format lens on a smaller format sensor. Thanks in advance!
  2. Hi guys, I was wondering if anybody could give me a scientific exolanation of how focal lenght doublers work and the reason why there is a 2 stops loss. Thanks in advance
  3. Hello everyone, maybe this is a silly question but it has been in my head for a while. Once I have a close and far focus chart for a certain focal lenght, could it be used for the same focal lenght of another set of lenses that have the same T-stop when wide open? For example, shooting at the same settings on the same camera with a 75mm Master prime using a diopter +1 would give me the same far and close focus if switching to another lens with the same wide open T stop? and if not, which are the factors that influence close and far focus on diopters except from the diopter's gradation? Thanks in advance
  4. HI everybody, I've never worked with probe lenses and I was wondering if anybody could give me some infos, like how do they work, in what they differ from normal lenses and if the focus mechanism is the same etc etc. Thanks so much in advance!
  5. Hi everybody, I'm doing a check out tomorrow and we are checking two 24mm lenses, one of which is detuned, what does that mean? Thank you in advance for the help!
  6. Hello everybody, next week it's going to be my first time working with Cinetape and I'd like to know if there's any tips you guys could give me to completely take advantage of it (like adjusting the height according to the kind of shot etc etc). Thank you
  7. Thanks a lot David, this helps me a lot! But I still have some doubts. If you look at the attached image, taken from the Arri Nab 2016 Issue, where they talk about the SUP 4.0 and possibility of shooting open gate and anamorphic on the sensor, I cannot understand why 16:9 is not wider than 4:3! 16:9 means 1:1.78, so the height is 1 and the width is 1,78 times the height. 4:3 means 1:1.33, so it' should be more similar to a "square", but if you look at the image attached it's kind of the opposite, having 4:3 wider than 16:9. What am I not understanding??
  8. What's the difference/advantage between setting knob limits or motor limits on a wireless follow focus? Maybe it's a silly question but I cannot figure out the difference, the WCU4 gives u the option to set motor limits or knob limits.
  9. Hi everybody, I'm looking for more explanations on shooting open gate. Arri's website says that shooting arri raw open gate gives you a frame size of approximately 3.4 K with a 1: 1.55 aspect ratio. Why is that an important feature? To gain more pixels by recording on a bigegr sensor?Is this mode especially convenient with anamorphic? and is that aspect ratio the "final" aspect ratio of the image? Also, reading the latest American Cinematographer the DP talking about previously shooting open gate arri raw with anamorphic and then shooting on spherical lenses and not using the open gate mode said" we wanted to get really close to the actor, so we used spherical lenses and only part of the sensor so it was easier to shoot and be more flexible". I do not see the relationship between shooting/not shooting open gate and the possibility to get closer to a subject.
  10. Hello, browising some monitor manifacturers' website I kept reading in the specs, "contrast ratio" 1000:1 ( others were 750:1). What does that mean?
  11. Thanks a lot Tyler! One last thing, from my previous post, how do you know that 10bit is 444 3G? Is there anything like 422 10 bit?
  12. Hello everybody, weird question here, I hope it's not too confusing. I'm using a Small HD AC7 wich is a 8 bit monitor. I am sending to it a 422 1.5G signal from the Arri Amira, and everything is kk, but I could not see an image when trying to send 444 3G. I understand the basis of color sampling, what i cannot understand is the passage from knowing my bitdepth to understanding the data rate and color sampling a monitor is capable of handling. In simplier words, is there a way I could have known that having a 8bit monitor I could not send a 444 image through sdi?
  13. I understand your point, and I apologize if this bothered or annoyed anybody else. I really appreciate the info I was able to get from this forum and all the people in it, especially from you David. I'll pay more attention in the future to go more in depth before asking something.
  14. I did. I do not completely trust wikipedia (it happened to me to read something and then finding here from other people that wikipedia was wrong). I trust more the experience of people here. To be honest I do not wanna learn something that is wrong and that is going to make me look like a fool. And for the last part of the topic in fact I feel like I'm asking for confirmation to see if I elaborated the info in the proper way. For example, about my last question about YPrPb wiki doesn't tell if it requires 3 diff cables or if that is a "y" cable with 3 different ends.
  15. Great! something like the one in the photo? Just to be sure I understodd correctly. And in case of YPrPb I'd have to use 3 separate cables correct?
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