Brian Drysdale

I'm not sure why you put this question in the Viper forum. You'd get more responses if you put it in the more general HD section rather than under a particular camera.

Could be the rental house has created their own set ups, but best check.

Are you sure you're not confusing the HDW 750 with the new F900R? The HDW 750 has 4 STD gammas and 4 FILM gammas, but not the hyper gammas found on the F900R.

This camera is similar to the CP16, the zoom with the dog leg V/F fits into a C mount cup. If you remove the cup there's C mount, however, you won't have a viewfinder since the camera is designed to be used as a news camera using a zoom lens with a built in viewfinder. You'll need to check the V/F to ensure that the frame edges are vertical, since the slightest knock throws them off. The camera would've used 1R mag strip stock when it was originally shooting news. The magazines are 16mm Mitchell type and quite a few cameras use them, including the CP16.

Check out the National Film & Television School's short course unit. They run quite a few one week type courses. http://www.nftsfilm-tv.ac.uk/?module=Shortcourse However, they're not cheap.

Since I was speaking the DP on a low budget feature film who hadn't heard of the SI camera, here is their web site: http://www.siliconimaging.com/DigitalCinema/ BTW The pictures are of prototypes, not the final production camera.

Thanks for the update Jason. I read positive reports on CML about one of the SI Mini cameras that was being beta tested.

Sony Cinealta cameras have 3 CCDs mounted on an optical block which splits the light into RGB. Most high end video cameras have this arrangement, although there are also a few single sensor cameras like the D20. Lenses used on the 3 CCD cameras have to optically compensate for the block, that makes them slightly different to film lenses. However, you can mount film lenses on single sensor cameras without any problems - 16mm film lenses would be a good match for a 2/3" single sensor camera.

I gather Silicon Imaging will be making annoucements at HD Expo in LA on November 2nd.

Need to be pretty well heeled amateurs. There are some lower cost solutions being floated about, but I haven't seen anything from RED to suggest that the camera is for amateur use. I suspect that many people used to 1/3" cameras and using only auto functions will find themselves on a steep learning curve. Until people get hands on with this camera and run tests, much of the discussion here is purely speculative.

You'd correctly expose the grey scale under what you're taking to be the correct colour temperature - usually 3200k in tungsten lighting. This means the grader has a reference for their settings if you're using strange coloured lighting or going for under/over exposed looks.

Basically it's done like any other shot. Since it's lit scene rather than shot using available light you can use any stock, although higher speed stocks like 500T are commonly used on 35mm for interiors. However, on Super 16 you might want to use a slower stock because of the grain. On a low key scene like this you'd use less fill light and place your key light so that it is less frontal on the subject, so that it comes in more from the side. In this case, the background lighting and the subject's 3/4 backlight have an orange gel (they could be using the same light for both functions here).

I believe that there soon will be 6 lenses available for the HD 100 series of cameras, not counting the 16mm lens adapter (which I don't think anyone yet has tested).

Phil, is this also going to be workable with the JVC HD250, if not the other JVC models?

Check out: http://www.showreel.org/memberarea/article.php?172

Double that of the Sony Z1 & FX1 with I believe 60,000 cameras sold?

I was going to add that using this method you need a test chart eg a DSC CamAlign. Might be easier to do in post if you don't have the kit.

You can get B & W in the F900 using a vectorscope and adjusting the multi matrix settings. You basically bring the HUE and SAT into a little bundle in the centre of the vectorscope by doing lots of small adjustments. I suspect you could do the same in the HDW 750.

Ridley Scott on "The Duelists" for shooting a film on a limited budget and tight schedule.

I agree on the marketing, although with another 6 months to go will everyone still be standing?

People have noticed similar focus effects when using a W/A converter on the Sony PD150.

There seems to be an impression by some that RED is the only HD camera in this price range. SI have a HD camera which is probably makes more sense for someone on a limited budget - the SI Mini ($12.5k) feeding into a laptop. Regardless of what happens to the RED, there will be cameras for the lower budget HD production. You mightn't have 35mm DOF (without a P + S), but usually there are usually so many other compromises on these productions that this just becomes one more. These cameras are just tools.

Quite apart from the smaller image size, the registration isn't so good on Super 8 compared to 35mm. It's great for a distinctive look, but not for match cutting with 35mm. I suspect there are other problems involved in delays producing enough "Lost" episodes than the 35mm cameras. there's a whole chain of stuff before film of any gauge runs through a camera.

Indeed, the build quality gulf between the current lower budget matte boxes and the hi end jobs is huge.

Given that there are more replies to the RED forum than for any of the cameras that actually exist, it shows how crazy all this is. Must be some form of cargo cult.