Kirill Nersesyan

Looks like a very promising device. It is pretty raw at the moment, not ready for any serious use, however once the people at the p+s technic will get all the options working. I'd like to try it - the showreel at 450fps look very good. The question is, whether the cam is going to be based on the cineform workflow or not. From my own experience, it puts extra strain on the color correctors, as they must know what they are doing and have experience with the footage the SI-2K provided, especially if the footage will wind up on TV - the LUTs are there, but it takes some trickery to get the truly tasty pics out of the raw footage in the end.

This is a truly interesting point... I have recently been on a job where RED was a choice of the producers and not the DP (as it often happens back here in Russia for a variety of reasons), the RED was provided by the largest rental house in Moscow with a very solid reputation and great tech staff. More so, I have rented film cameras from these guys on a number of occasions (as these are the local authorized ARRI rental guys anyway). This particular time we've had a huge problem with the camera, it kept crashing for no apparent reason (mind you the conditions of the shoot were rather comfortable with no drastic temperature/humidity changes etc.) and no one could pinpoint the problem. As it is I was forced to cancel on that day, but I had to finish the shoot the other day anyhow, I decided to risk it all yet again and was given the ALEXA camera they just recently got. Again, these rental guys were kind of reluctant to give it to me since they have already had a cancelled shoot on their hands the previous day and the ALEXA was a little too new for them to guarantee anything. To make the story short - ALEXA was great and very usable, except for the fact that it doesn't record audio, which wasn't much of a problem for this particular production. I am actually not the advocate for RED or ALEXA as it is, but the fact is, here in Russia, currently ALEXA proven itself to be a bit more predictable, reliable and frankly more fun to use. Sorry for my English.

Hi all, I am currently assembling a tech list to go with the Panasonic AG HPX 500 Camcorder. It is imminent to employ prime lenses for the project. As I am rummaging through internet it seems to me that there actually is an option that WOULD NOT require adapter and it is to use the Canon HD FJ prime lens kit. Is this true ? Or do they still need an adapter for them. Just can't seem to be able to confirm this. Any input will be greatly appreciated. Thanks.

Hey, just finished shooting on SI2K - mostly outdoors. We did not switch the camera off at all, just covered the chip entrance with the plastic cover, ALWAYS do the black balance after every lens switch and AFTER every turn off/on the camera. Hope this helps !

I am trying to find out what mattebox to use with the standardized JVC 250 camera... Anyone has been looking for this info yet? I would appreciate any info, thanks :)

Hi all, I seem to have run into a little problem. Need a package to rent (preferably from one place) in LA (Nov 21st-26th 2008). If you know someone or yourself have the following, please reply with prices. I am looking to rent the following: 2x portable video monitors 11" (PAL/NTSC) with battery mounts, batteries, rechargers, ac cables etc. 8x 150wt Dedolight with stands, ac cables etc. 4x Lowell Tota (500wt) with stands, ac cables 4x umbrellas 2x SunDisks (silver/white; bronze/white) cables, extension cords etc. I need this from 20th to 26th of November in LA. Please reply with the availability, prices etc. Regards, Kirill Nersesyan (kaynemo@gmail.com)

so we should be ok with NYC jfk customs, right ?

Hi all, I've got a Russian crew scheduled to start their shooting in NYC next week. I was wondering what papers should we acquire, if any, to allow them to cross the border trouble-free when they fly back home with the developed footage? If anyone knows the routine - please reply I will be very gratefull! Thanks in advance.

Hello all! I am a Russia based DP. I am currently in preproduction status of a action movie for youth that will be shot with a lot of green screen and computer generated backgrounds and graphics. Initially we were discussing the 35mm production, however, with the amount of the future computer rendered imagery it seems interesting to shoot HD. I am looking at d-20 and Red, since they both look a bit closer to the 35mm equipment quality. My main concern are the lenses that are available for Sony 900, Arri, Red. Arri seems to be ahead with their own line of lenses, but the Red is close by. Any suggestions? P.S. I have to add that there is currently no d-20 available in Russia as of yet.

Fixed it in no time - took it back and exchanged the head!!! Thanks GOD B&H had a replacement in stock! Now I am happy - might even get some sleep tonight - tomorrow the production starts! Wish me luck! :ph34r:

Is there any serious difference between ProHD tapes and MiniDVCAM tapes when used on the JVC GY-HD111E?

I took a JVC GY-HD111E out for a test spin and now I am totally freaking out. The footage we brought back is all screwed up! All the vertical and parallel lines are "strobing" very bad. In DV mode the strobe is less visible, but that is probably related to the less information recorder on the tape (yes, we've used different tapes). My production starts on Tuesday and it is Sunday night!!!!!!! I cannot shoot a production in NYC with such an effect. Any advice? Any help? Also we are shooting in PAL and I was thinking to use 25p mode. HEEELP!!

you are totally right!

This is actually an interesting point. I just got a 111E version of JVC - 'cause I need to shoot a movie for a Russian Market that utilizes and uses PAL. I have discovered (and I knew this could happen, but with the more expensive pro camcorders it is never an issue - they have a built-in electronic switcher) that the European model gave quite a lot of flicker under the American fluorescent lights (consumer - regular indoor daylight tubes). Again with the more expensive professional head like 900 series or whatever - that is not an issue. I am trying to see whether it could be dealt with through the menu, but no luck so far - I did manage to eliminate some of them by switching the shutter to a different value - but that eats up the stop.

yes I was looking at that wide angle lens too - even tried to see whether it was available for rent in NYC - no luck yet and I can't get the extra 7 quid ... yet at least.

Actually I take that back! If I do use the primes - wouldn't I need a conversion ring? How would I go about using a prime or a 35mm zoom?

What lens would you recommend? I need a zoom lens - primes are awesome, but in the case of this production - impossible!

All right! Just made it to B&H and took a look at the JVS HD GY-111 camera. It looked nice and the feel was just right since the lens was nothing new to me and it was analog - iris ring, focus ring etc. However the guy in the store was yelling that the camera was crap and he has never seen so many colour abberations as from the lens it came with and that even the JVC guy said the lens was crap. His answer to the problem was simple - go get the brand bew Canon Xl. Which I also looked at and it was not as comfortable, with the electronic focus ring and the iris on the little wheel way past the thumb etc. Anyone here dealt with the JVC? Any words on the abberations? Any words on the overall camera experience? I need to decide since I am about to shoot - I gotta know if this camera will not be reliable. thx

thanx and well yeah it records on miniDV

Hi all! I have been reading sooooo much about the 24p and 25p that instead of getting a clearer picture, I simply got even more confused. When shooting HD in PAL - what would be the fps rate to deliver the "movie look"? I am planning to use JVC GY-HD111U (e). I am sorry - I know this has been discussed a lot. thx

I just want to say that I have just worked with a DP who used a very wide range of lens from the very wide to telephoto and a zoom lense and sometimes we have made a specific close up with a very wide lens. I was just watching the pre premier screening footage and some of the times this effect totally worked and added to the feeling of the "being inside the story", but some other times this effect was not right for the shot and somehow extracted from the film in a sense that this part became to "real-life" and I had a sense of the reality tv type, if you know what I mean. Sorry for the bad English and thus a hectic narrative :)

Thank you very much for the reply. I really do appreciate it. Please send me the gaffer's resume - it will sure help me. I can send you a reel of some of the work I have done after 2nd of October when I return to Russia. It means a lot to me, so thank you for your reply. Good luck to you and I wish you all the best. My email is kin at lyrichall dot org.

Hi all, I would really appreciate your feedback and/or advice on how to land a job with the current resume that I have. I am interested in jobs on east coast USA or east coast Canada. Any feedback or advice will be very helpful, since I am new to seeking jobs in these neck of the woods. My resume is attached. Thanks again. Kirill_s_resume.doc

Thanks for the reply. I will test as many as I can. I have to go with a zoom lens, because the director I work with hates not being able to zoom on the spot. I know it is wrong, but he is the chief here :)