Hannes Famira

Hey everybody. I just ordered a xMac mini Server, Thunderbolt 3 Edition (https://www.sonnetstore.com/collections/thunderbolt-expansion-systems/products/xmac-mini-server-thunderbolt-3-edition?variant=28533878587426) intending to turn my 2018 MacMini into a powerful Davinci Resolve editing workstation. Can anyone advise me as to what GPU card would be compatible with Mac OS and currently offer the most effective speed-up for Resolve? Any pointers are appreciated.

I am just working my way through the Film Simplified online courses and I am very happy about the way things are explained: https://deals.filmsimplified.com/home They have a bunch of free classes that will give you a good idea of the level of detail and the pace of the classes. I am a total beginner and from my vantage point I highly recommend it!

How about a eyepiece cup heater unit? There is a Denz heated eye cup on eBay https://ebay.us/YmBWKC I wonder if I could somehow have that fitted to my (more budget friendly) Alphatron. Or is there a lens it these?

I have no experience with these. Are they somehow standardized? I am interested to learn more.

Thank you Robin, while this looks like a great product I am not sure it will work in my Alphatron. Has anyone tried anti-fog sprays? I am reading wildly different reviews on Amazon and I am reluctant to spray any of this stuff on my EVF without having someone here confirm that I won't ruin the diopter and that it actually works.

I am using an Alphatron EVF. When I am operating shoulder mount and break into sweat the diopter fogs up and it's basically impossible to work that way. Any advice would be great. Thanks!

I have the Tilta EVF mount and extension that use standard Arri connectors. For behind the camera I am combining this with Arri eyepiece leveler support. Works like a charm. No wiggling: https://tilta.com/product-category/tilta/support-systems/evf-support/

Operator work out: https://video.xx.fbcdn.net/v/t42.9040-2/62386936_463407177768609_6728038940307095552_n.mp4?_nc_cat=103&_nc_sid=985c63&efg=eyJ2ZW5jb2RlX3RhZyI6InN2ZV9zZCJ9&_nc_ohc=sMVG93THOIkAX-eT4cT&_nc_ht=video-lga3-1.xx&oh=71cd39e8035d7c8bda8b694ec57d794c&oe=5EF60465

Thank you everybody. This is really good guidance. I know now what to do and I even understand why. 😄

So I shot my first short and I started poking around in Resolve and now I want to get the basic set-up right. My question for you is: What size should I choose for editing my project. The obvious question is what is the intended use for this film, how would I deliver it? I do not expect to ever show it to anyone besides the participants and "friends 'n family". So it really doesn't matter. But it seems a good moment to learn about the considerations going into this decision. The footage was captured on a Super 35 sensor at 1080p with an anamorphic 2x squeeze. So if I keep the 1080 vertical lines and apply the 2.39:1 formula it gives me a resolution of 2581x1080. That means that once the picture is de-squeezed I'd be chopping off a lot of pixels that extend horizontally beyond the CinemaScope frame: 1920 x 2 = 3840. So I would be giving up 1259 pixels per line. Wow. Still, I have no problem with this as it means that I can even adjust my framing horizontally and I am keeping every single pixel of the vertical resolution. Cool. Now I am reading that 2560x1080 wide is actually the maximum width for DVI dual link and a standard Scope film on a BluRay is just 1920x800. The last contestant for this game is the 2k Cinema DCP at 2048x858. And now I am at a loss which way to go. I hesitate to reduce the vertical size for the edit. While it would allow me to tweak the frame in all 4 directions, I would be surrendering resolution. I am thinking that if it became necessary for the delivery format I might as well just scale down the finished edit, right? Can you sway me in any of these directions? Do you have a personal preference or any experience what film makers prefer and why? Any input is appreciated. Thanks guys!

Outstanding, thanks Kyryll!

Much appreciated. Thanks guys! That old thread answers half of my question. I realize now that I was mixing extension tubes (that simply add space between the rear element and the focal plane) with extenders, which add essentially a "magnifying glass" behind the lens that doubles the image in size). It makes sense to me now that extension tubes will not work. Wouldn't a 2x optical extender keep things in focus as it adds an optical element? I have the Century 2x Extender with PL mount that works on zoom lenses but I lack an anamorphic lens to conduct the experiment myself.

Hey everybody, I am not in the position to test this myself but the curiosity is killing me: Why will a 2x extender not work with with 2x anamorphic lens? I have read multiple times in forums that it won't work and even the Duclos website notes that their extension tubes won't work with anamorphic lenses: https://www.ducloslenses.com/collections/adapter/products/exttubekit The physics prohibiting it escape me. Does anybody have actual experience trying this and can explain?

I think this confirms it: https://cinescopophilia.com/sony-pmw-f3-camera-v1-10-optional-slog-rgb-firmware-updates/ And here Alister Chapman details it in the comment section of his own blog in April 2012: (http://www.alisterchapman.com/2012/04/15/pmw-f3-firmware-v1-4-to-include-s-log-in-picture-profiles/😞 "You will NOT get LUT’s or 444 or RGB unless you have a new F3 with S-Log pre-installed or you have the paid CBK-RGB option. You WILL be able to output 10 bit 422."

Yes, single or dual link. I wasn't aware that Dual-Link is a mod. I thought the F3 did that out of the box.