davide sorasio
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Everything posted by davide sorasio
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thank you guys, I have a couple more questions: - David says he was probbaly talking about bit depth rather than bitrate, but in the article he posted they talk about bit rate, so I'm feeling kind of confused if the two terms are interchangable or not. - Is one term more connected to post production? - For example, in the Canon C500 when shooting 2K is given the possibility of choosing between RGB444 12BIT or 10 BIT. What is the camera referring to? Bitrate of Bit depth?
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Hi everybody, I've never worked with Canon Cinecameras and I was going through the menu simulator of the C500 and I've seen that one of the possibility of recording given by the camera is "CFX", I'm trying to get to know more from the Canon website but it keeps crashing on me. Can anybody tell me what this format is and all other infos I should know about it?
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Hello everybody, I still did not get a chance to go in depth of the notion of bitrate through the dedicated digital cinematography manual that I've just purchased, but I'd like to have an introduction to what it exactly is and how it effects the footage, so that in the meanwhile I do not completely ignore this concept while reading about cameras and their features. Thank you in advance for the help!
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in case anybody knows, i was wondering about this: Ive noticed that most gold mount/V mount on camera batteries have a 14V voltage, so why is it possible to power a tv logic directly to the battery through a dtap when the tv logic requires 12V? shouldn't it create a short circuit?
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Hi everybody, I'm still a beginner and I'm having some doubts about hyperfocal distance. Playinng with some DOF charts I've noticed that the hyperfocal distance changes with the aperture and the focal lenght of the lens. For example shooting 35mm 3-perf on a 50mm and at a F2 the hyperfocal distance is 161' and 6", so if focusing for this distance everything from 80' to infinity should be in acceptable focus (please tell me if I'm wrong about it), but what if the hyperfocal distance is something like 400', most lenses do not have a mark for it, so which distance should I be focusing for? Thank you so much in advance for the help!
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one last thing! Ive noticed that most gold mount/V mount on camera batteries have a 14V voltage, so why is it possible to power a tv logic directly to the battery through a dtap when the tv logic requires 12V? shouldn't it create a short circuit?
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all right! Thank you so much guys! You helped me a lot!
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You guys have been amazing! Thank you so much! in all of this only one thing is still confused to me, and it's electricity related. How does a short circuit happen? and why powering the TV logic from the RS port would create a short circuit? From what I've understood it's because of the 12V vs 24V power output, but in this discussion it has also been mentioned that it might be also because the monitor powerd through the RS port is also conencting back to the camera through the BNC, but isn't it always the case when having on board monitors? Or the problem is due to the different voltage AND the fact that the monitor powered with a wrong voltage would also been connected to the bnc back to the camera? If I'm not wrong, and please tell if I am when powering a TV logic with a 12v 2 pin power cable the monitor is also connected back to the camera with a BNC right?
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great! this really makes sense! anothe thing, I've heard people talking abot D tap and P tap, are they the same cable or is there any difference? Thanks for the great help!
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All right, this really helps, but I have a further (maybe silly) question. the number of pins in/out at both ends of the cable is the same? Or, and maybe this is the case, I can have a 2 pin accessory that then ends with 3 pins to power a TV Logic? (and tell me if I'm wrong but tv logics to be powered always need a 3 pin input on their back right?)
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All right, things seem to be more clear now. It's that I do not have that much experience with film cameras due to my young age and I could not really figure this IVS thing. One REALLY IMPORTANT clarification I need: what you are saying about the ground loop is also true for digital cameras? So a 3 pin RS port can never power a TV logic? (of course if not with the special cable you are talking about). And which kind of port would I need to power a tv logic on an ALEXA for example? DO I need a Ptap 2 PINS cable? THANKS SO MUCH, Davide
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All right, I hope you'll excuse me but I'm facing a language barrier problem now, what do you mean by "The R/S outputs can only power things that won't connect back to the camera"? I cannot understand the meaning of connect back to the camera. And what do you exactly mean by trigger grip? BTW I'm talking about the CLM on the right side of the camera (maybe it's only a 416 PLUS SPEC, I'm trying to atatch the screenshot of the camera manual but the file is too big). Final question, so the 416 was not meant to be connect to on board tv logic when it was created right? Again, THANKS SO MUCH!
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All right, I have a couple more questions related top this. Is the RS port what people commonly referes to "power port"? and looking at the camera diagram I see that there are also different clm motor connectors, so is the LCS connector an alternative to the CLM connector or is it something I would plug togheter? And one more thing, in which port should I power an onboard TV logic on the ARRI 416? Thanks so much, you are being really helpful!
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Hello everybody, does anybody know how can I tell the difference between LEMO and FISHER cables? and what are their technical differences? Thanks so much in advance, Davide
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What's the difference between RS connectors and LCS connectors and what are they used for? Thank you so much in advance, Davide
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Thanks so much! One last thing, looking at the images of the camera on the manual on the right side on the lower part there is something called "Film transport pitch adjust". What is that?
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All right! Thank you so much, only one last thing, what do you exactly mean by "fiber screen"?
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Hello everybody, I'm reading the Arri 416 camera manual and I'm running into some terms that I do not kno wthe meaning of. One of them is the Hirschmann clamp, what is it and what's its function? It's said that it's used to "replace fibre screens and the field lens" but I do not know what it means. Thanks so much in advance for te help, Davide
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Hello guys, me and other people on set where wondering what this piece of plastic (it's kind of a devider) on the O'Connor pan handle between the grip part and the tie down knot is used for.
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Hi everybody, I'm 2nd ACing a project with Red Dragon and cooke anamorphic and I'm having troubles with the RED LCD on board monitor. The problem is that after setting the 6:5 anamorphic 2X desqueeze the DP sees the frame on his RED LCD kind of cropped. It's like he's seeing the 2:40 aspect ration only in a frame inside the monitor while the rest of the space is just black, and it's not eveng shading like when you shoot 1.85 and you just wanna set the frame guides for anamoprhic, it's just like if only portion of the monitor is used to show the image but the rest is not. It's like seeinga smaller rectangle inside the monitor that shows the image while the rest of the space is occupied by the other infos like media, battery etc etc. Does anybody know if there's an option in the monitor control I can use to fix this problem or if this is normal when shooting 6k anamorphic? (and I'm sorry if the description of the problem might not be clear). Thanks so much in advance, Davide
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thanks for the precise explanation! the thing is that I'm a novice in camera stuff, so I think I'm missing a few step. The first thing is, how do I know if the camera I'm using is momentary or continuous run? and once I know it do I need to set something specific on the camera menu itself? And most important, what does it have to do with the functioning of the follow focus device? I know it might sound really silly but I do not get how the starting of the camera has something to do with the rotatory movement of the lens created by the motor of the follow focus. And is any of these things related to the RUN/STOP switch on the transmitter? THANK YOU SO MUCH FOR THE GREAT HELP!
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How to output different signals out of a red dragon
davide sorasio replied to davide sorasio's topic in General Discussion
ah ok! Looking in the different options in the DONNA App I do not see anything like that, it might not have been updated to the last firmware. So in simple words you are saying that the director and the Dp are probbaly gonna look at the same image? (on a side note I'd like to know your opinion on another question I have on another post that I really cannot figure out http://www.cinematography.com/index.php?showtopic=68511 ) THANKS SO MUCH FOR THE HELP! -
Hi everybody, sorry for the silly question but I'm way more familiar with ALEXAs than with the epic/dragon family. I was wondering if on the dragon there's a way to send different signals on different monitors, like in the Alexa. By that I mean the possibility of having the director seeing the LUT/REC 709 in the director's monitor and the DP the RAW in the EVF/on board monitor for example. I've been playing with the DONNA app but I cannot figure it out. Thanks so much in advance for the help, Davide Sorasio
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Hi everybody, reading the bartech BFD manual I ran into some functions that are not clear to me at all. The first one is the switch for the MOM/CONT switch. The second is the POT connector. Thanks in advance for the help, Davide Sorasio
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thank everybody, onlu one last question to see if I got it right: so using "normal" 2X anamorphic I'm recording only the 1:1.20 portion of the sensor? and does that mean that some part of the sensor is not "used"? while the 2Xmag gives me the option of using the whole 16:9 sensor size?