Alexis Hanawalt

Now listed on eBay here: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...E:L:LCA:US:1123 A few more pictures in the listing as well.

It's been used lightly, is in great condition and I still have the paperwork, manual, etc... Bought for $2900 8 months ago from Custom Supply. It is designed for cameras up to 35lbs. You can get more specs from B&H here: http://www.bhphotovideo.com/c/produc..._40_Fluid.html I also have the super light Cartoni a303 carbon fiber tripod that I can sell along with the head. PM or email with your offers.

Interesting - I guess I am missing the little holder piece that the gel is design to slip into.

I'm pretty sure it's the whole thing - it has a little bit of plastic that slips into the slot, with a slit in it that could hold a gelatin filter. (slits and slots... very technical.) Seems like there's a risk that if the filter fell out, you'd have difficulty retrieving it - and seems like the risk of getting dust or moisture into the lens via the slot is good reason to leave the plastic ring alone... nevertheless, are there specially made filters that go into this slot - or is it just a cut your own kind of thing? -AH

I just bought a used Cooke 20-100 on eBay, formerly owned by Otto Nemenz - came in the case with rods, etc. Looks to be in great condition. This is my first owned lens. Does anyone have any recommendations for where I can take it for a "general checkup?" (Collimation, etc.) - in the LA area? Also, there's a little rubber ring covering a slot near the back end of the lens - no idea what this is...

I shoot today - I think I'll try both with a greenscreen taped to the window and the Difference Matte route... Thanks for the suggestions!

I'm shooting a low budget spec spot in HDV and I need to composite an artificial background outside the windows of an office location. I don't really have lights to spare besides the practical office lighting. I intend to tape up cardboard painted chroma key green to the windows and just keep the actors a good distance away - but I'm curious if it might be good to leave about 1 inch all the way around each window with light still coming through to maintain the illusion of real daylight spilling in. I'm concerned that this might allow for a lot of spill. I'm using Keylight with After Effects, so I know I'll have a lot of control, but I just want to be sure I do this in the best possible way. Any suggestions?

That may be... But this paragraph was really dedicated to the principle of digitizing via firewire. I mean, I know that firewire is inherently jumbling up 1's and 0's to a pretty great extent so what ends up at one end is more a reassembled 100% re-creation of what was at the other end than an identical duplicate... but for all intents and purposes, there should be no loss... right?

I'm going to be digitizing some 24P Varicam footage via firewire into G5's running FCP 5 for a narrative feature which will probably be blown up to 35mm film. Every single source I have says that DVCPRO HD footage captured via firewire suffers no generation loss whatsoever - except for Goodman's Guide, which has a brief paragraph stating that the image is compressed and sustains a loss in the high end. The guide then states that sending a cuts-only edit back through firewire to the deck results in a tape copy with 100% of the data of the original tape masters. I don't understand this, and I can't find any information that corroborates this. I called Panasonic and the tech was stumped. He'd never heard that there was any loss. I've emailed the author of the guide for elaboration, but haven't heard back yet. Does anyone here have any DEFINITIVE information regarding this issue? It could be of critical importance when we do the blow up. -Alex H.

I have a similar question - I'm working for a company that's about to shoot a horror feature on either the new JVC camera in 24p HDV or on the SDX900. The current lack of support for editing 24p HDV is a major holdup as far as that goes, but I'm also curious about how DVCPRO50 footage looks when upconverted to HD? Anyone have any opinions? I would usually argue strongly for the SDX... but if this goes theatrical (it probably will) I'm not sure if HDV wouldn't be better due to the higher resolution. -Alex H.

I knew this thread would get picked up sooner or later...! We're budgeting in the 30K ballpark for 2 spots, probably 2 or 3 days shooting. We'll shoot in LA.

I'm starting to put together a few speculative budgets for a client for a commercial I'm directing. What would people consider reasonable non-union day rates for a DP shooting on a SDX900?

In the back of this month's American Cinematographer: The show is shot on DVCPRO-50 with a Pro-35 adapter!

Thank you Phil - THAT was what I needed to know!

Hmm. Lot's of good information.... It looks like right now I'm choosing between Digi-Beta and DVCPRO - DVW-700WS vs. AJ-SDX900. I'm having trouble believing that the compression on DVCPRO is comparable to Digi-Beta. I'm working with DVCAM on someone's project, which doesn't look all that much better than DV - and I was under the impression DVCAM and DVPRO were different brandings for the same thing. They shot on a 1/3" chip though, and the SDX is 2/3"...