Dmitry Savinov_38080

yeah! great idea with dollies indeed!

yeah that could be a primal choice but out of the budget for sure....(

Thank you Bruce but I do not think that GoPro or kinda thing will do for me and my task. These wouldn't be just short insert scenes like, you know, half a second of a nose breathing hardly. That would be a large part of the show and certainly long takes with sound sync and necessary quality. The main camera system will be an Alexa/Master Primes so I think the rig must fit for a Mini and be as compact (and stable at the same time) as it's possible.... Any suggestions,guys?)

Hi everyone, I am about to start prep on series with huge amount of horse race sequences that will take place at a hippodrome. That is the first time I have to figure out how to shoot horses and riders in their cars with wide angle (it might be 21-27mm or so), a stabilized camera setup must be faced right to horses faces or even muzzles tracking them. How one might achieve it without frightening horses or disturbing riders, with a camera about 3 feet from horse face or even closer? Any ideas? maybe some of you guys have a positive experience? the other issue is the tight budget as usual) Thanx in advance!

Yeah I've googled a lot upon the problem and it seems that the problem is in Open Gate aspect ratio indeed. Its settings aren't represented in Da Vinci project settings so its somehow stays your Scope image within the. letterbox-shaped frame( it is strange 'cause Da Vinci HAS to support Open Gate for it is not a new and unusual format.... So the only workflow I chose is to set project to 2K Scope 2048x858 and to crop the image to fill the selected screen.... Maybe there is any other option to downscale instead of cropping.

There is no Aspect Ratio option for Open Gate in Da Vinc Resolve 12.5 Lite. I think that's the problem

ARRIRAW Open Gate 3424x2202

Yeah thanx I know about it,I will use openDCP. The problem is when I want to make a TIFF sequence in Deliver in Da Vinci with setting 2K Scope 2048x848,it comes with ALL the frame with letterbox in 2048x848,not only the image.Why? Where did I mistake?

Hi everyone, Could anyone give me a good advice please? I have got a lens test in ARRIRAW sequence in Scope 2x I have already got the test edited and graded in Da Vinci Resolve and have to make a DCP clip in a charge-free software openDCP. Could you please tell me if it is correct to make a jpeg2000 DCI 2K Scope right from Da Vinci or I have to make a TIFF sequence (I have tried but it was a strange error with double squeezing the image somehow) What will be the right workflow? Thanks

hi, I don't get the specs at the current moment but I believe they are multi-coated but not as ideal as Master Anamorphic and it is great indeed!) and they are not so long and heavy as Cooke ones. The manufacturer acclaims something like 15000 USD per each of tested 40,50,75 and 100. It will be higher price for 25mm and longer end.

Hi everyone! Here is a test of new Elite S-seven anamorphic lens set of four pieces :40mm,50mm,75mm and 100mm I've shot yesterday. Camera:Alexa Mini is three most common anamorphic formats. Source:ProRes 4444XQ Aperture is wide open to 2.2-2.4 to render all the artifacts of the glass. It is the first part of the test, I call it "for TV purposes" The second one called "for cinema purposes" is coming and shot with the inappreciable help of fellow cinematographers in ARRIRAW Open Gate comparing with old LOMO Square Front and Cooke Anamorphic/i. Enjoy! I will be appreciate for your opinions about the lenses here. Thanks! https://drive.google.com/file/d/0B-oB53JBTrFxT3Y0YU1QSTQ1M2c/view

Thanx Cris!

Yeah I know 5222/7222 pretty well.it seems much more low contrast and clean in terms of pure white but it's twice higher price and this is critical for the current project....

I mean the scan itself as a DPX/TIFF sequence

yeah thanks! it would be better to look at 2K scan and maybe download it to figure out does it fit for DCP purposes for sure!

Can not correct the previous posts so writing here U 74,not UN ! thank you Symon UN as Universal Negative is for 54 for its ability to serve as a reversal film also

Sorry guys,correcting

This would be very nice and useful not for me only but for everyone who wants to try this workflow I hope!

Thank you Robert! and is it really necessary to make a 4K scan for S16? I mean you get more film grain and structure without dramatically improved quality, isn't it? and you've pushed it to 800 ASA partly so maybe you've got some stills to look at? it will be nice)

Hi everyone, Prepairing an "arthouse" feature and we,the director and the DP settled that the best way to realize the story is to shoot it on S16 b/w film and than scan 2K and make a DI. We believe that ORWO UN74 will be the best option for its price lower than 7222 has and for its speed (400 ASA instead of Kodak's 200 ASA.with standart developing time,of cause) Unfortunatly there is no film stock of ORWO neither Kodak at the current time in our country so we are waiting for ordered cans for shooting tests and it will take a lot of time( Maybe some of you guys have made a few tests of the stocks for feature projects or even shot a feature for theatrical realease? Not 35 but S16? What could you tell about it? Is ORWO a good option? Thanx a lot

I've heard about some still lenses for ragefinder cameras....

I wonder if I could find a reverse perspective lens besides the unique Elite optics has build? This one is too long and I am searching for about 50-100 mm one. I've heard there are some still photo lens samples....

Thanx a lot.

Thank u Tyler!

And one more question: Am I to apply a particular b/w film stock LUT in DaVinci to get the correct image,or I should operate normally as I usually do with color materials-starting with flat scan?