Joe Taylor

Hmmm -- Was it the same 8 gig card both times? This inclines me to a policy of downloading all cards to LTO and/or RAID the instant they come off the camera. Some sort of work station on the camera truck in the same space as the darkroom for film mags.....

 

-- J.S.

Hello John,

This was a brand new card. RED talked me into buying a new card after trouble shooting this the first time. The first card has been relegated to a DSLR.

Was Media Works involved both times there was a problem?

Hello Tim,

No, the first time this happened I had been shooting B-Roll on a personal project. It was no big deal then, but still a concern. I had been working back and forth with a tech at RED about this issue the first time, but communication dropped off and died when they could not make the duplicate the problem.

On another note, the editor on this project just called and he was able to open the first file from the corrupt mag from the disk image in Final Cut. 8 More to go.

Somebody else has had this happen because I swear I have read almost this exact story before. I'm not sure who but it must be in the archives.

 

love

 

Freya

Hello Freya,

I imagine the story you read last month was written by me. This is the sequel. This time though there are two very angry producers who are screaming for blood and some of it is mine. But first they want their footage.

This evening after wrapping a commercial, our producer and director were re-playing the shots we had just finished for the day. Everything played back fine and we "were" all very happy. We had viewed several takes on this mag multiple times-- THIS STUFF WAS THERE!! We get to Media Works and downloaded the files from this mag onto the editor's computer. The first several shots had errors. The rest, however, are all shots we had shot yesterday. Nothing from this evening. Panic ensued because this is the second time this has happened. The techs at RED do not seem to believe this is possible and quite responding.

I then made a disk image hoping that I might be able to retrieve out work this way but everything is corrupt. Tonight's work is now nowhere to be found. I then put the Mag back in the camera to see if our shots could still be played back on the camera, just as they had when we wrapped. Now the camera does not recognize the mag as formatted.

Has anybody out there had this happen to them? Is there anyway to save the footage on this disk?

There are several very unhappy people here in St. Paul. PLEASE HELP!!!

Here is an "A" list DP who through the 70, 80s, and 90s, was working on mega-budget studios pics but for the past decade seems to have been relegated to B-flicks and straight to video fare.

The last article that I remember reading about him was an InFocus story about a documentary he photographed. This was 2001 or so.

Does anybody know what he is doing these days?

Camera was locked down and static. No movement except for a slight breeze blowing some branches. Using After Effects or anything other than Motion is not really an option for me. I took on this job as a favor for a good friend (a film professor at Emerson University, so students or Alumni who have this sort of experience please chime in) so my resources are limited.

For the star back ground, I plan to layer the multi-exposures in FCP and make a QT clip from that but only if people in the know think that this method is a good idea.

Open to any and all suggestions since this sort of thing is a new to me.

Thanks.

* I posted a similar topic in the General Forum with no luck.

I have an F/X shot for a short film that will hopefully work this way. I filmed a side-lit pine tree using a RED ONE and need to layer a composite shot of a star filled sky behind it. The starry sky is 6 wide angle still shots of varying exposures to give the final shot of the sky some flicker. I am working with FCP and hoping this can be achieved in Motion.

Can anybody offer any suggestions on how this can be done?

Thanks

If this sort of recording gets wide exposure, I wonder what sort of damage this could have on not only on T4 but Christian Bale's career. I was thinking that tabloid shows could/would never be able to play over the air, but then again they love this sort of scandalous garbage-- bleeping out half of what he says makes it all the more "shocking" and "appalling."

Klaus Kinski's tantrums became legendary because they were sort of hilarious and pathetic and a few underhanded directors could actually manipulate his little fits into his bettering his "performance."

You can find about a zillion tutorials for how to do keying and rotoscoping in After Effects or other programs all over the internet.

 

Also, it's generally a good idea to have planned this sort of thing out beforehand and to know how you're going to do it before you shoot it and make your movie dependent on a shot that you may not know how to accomplish.

If everybody went to Google to get all the answers to life, then seeking advice @ Cinematography.com from friendly professionals like yourself would seem so pointless. So relax. The Cardinals still played a good game.

Yes, this makes sense if I was compositing a still photograph, but I am working with moving images here.

I have a special F/X shot that I need to complete for a film I worked on recently.

This is the shot: Foreground shot is a fir tree, filmed at night and lit with tungsten side lighting. Background shot is star-filled sky with Orion. I need to matte the star shot over the darkness of the fir tree shot.

The star shot is actually four time-frames of slightly different exposures to give the stars a bit of flicker.

I am working with FCP Studio Pro. I am told Motion might work well for the composite.

Any suggestions or advice is appreciated.

To me this has always been one of the most striking shots in the movie, and flipping through the channels today, many shows have played this shot.

I have seen the "Dark Knight" three times now, and I still do not know how, why, or what, the Joker is doing in this scene/shot. I know he has been arrested, but whenever I get arrested, the cops do not permit me open the rear window, most don't open anyhow, and if they did, the cops would beat me and or the Joker with a rubber hose for even trying.

So, is the Joker doing something here or is it just a cool shot?

Like most involving movies,I had to revisit it a second and in this case a third time to really appreciate it most. The first couple of times the theatre was packed and because if this a bit difficult to hear at times. But last night the I went by myself with only a couple or so other people in the theatre and found that it was a much more moving experience. Funny that the most interesting character and story involves the blind clock maker at the beginning. I would like to know how the makes achieved this parts handcranked look.

You are right that some shots we so spectacular that I would have appreciated if they would have held onto them for many seconds more. The aireal of France, the space launch and the flash back to the swimmer's magnesium lit interview come to mind.

And you are right, Jonathan, that through it all, you really never really know much about Benjamin. He is still enigma by the end and I am not so sure that we should give credit the filmmakers for being clever. This is a curious case of too much and not enough at the same time. Now I am being clever and it being 4:30 in the am.

Can anybody tell me the differences between the Nizo 800 and 801?

I am mostly interested in the ability to shoot time-exposures. If I am not mistaken, both models have the same time-exposure abilities.

Here is another very old school lens. Probably 1960's. Very cool name and I can get a 300mm for a song. I know it is very slow, I think 5.6, but hey, it's free.

It is indeed 3.9. T2 is the model number, as in "Type 2."

And the lens is cheap, as in free. It is a gift.

I have an opportunity to buy an older Angenieux 25-250 (10 x 25 T2.) This is not the Angenieux 25-250 HR but a much smaller and older unit. Everything about the lens is tip-top with pristine glass.

Can anybody tell me anything about this lens or how it would behave on a RED ONE?

I´m just testing my new RED ONE camera. I found straight away a noticebale strobing effect, alot worse than in other 24p cameras.

Not sure how long you have had your camera, but it almost sounds like you are basing your viewing experience by watching your QT Proxies. Have you had time to render and work with you footage?

Stop being such a prick Joe. The format has nothing to do with it, so do us a favor and and keep your silly comments to yourself.

"My main criterion to judge art is honesty, and these kinds of films are anything but."

Go see the film and then you can yack and complain, (childish name calling removed by admin) .

John, I guess you need to read the fine print between the lines. The problem and the real argument that you are getting here, is this. "This film is bad and I refuse to enjoy it, let alone see it, because it was not shot on Film."

Just let it go. Like Sister Beauvier, some people cannot be reached.

If I had my way I'd use a 12K HMI with some 1/4 CTB about 100 or so yards away behind the actors for a nice rimlight, and some sort of big HMI china ball for the fill in front of the actors, or to the side. I'd then balance the camera for a slight blue hue on the fill light, which would hopefully give the rimlight some nice ghostly blue quality.

People are going to ask and say, "They're in the desert, right? I know there isn't a nearby factory or shopping center nearby, so where is that annoying light behind them coming from? And why is everything so very, very blue. Is this 'Melrose Place' in the desert... no? This sucks."

Nothing is more difficult than trying to light a desert with several HMI's and a China ball. Instead, I'd recommend a more natural source. The sun might work well. Look at the way they did it for "The Proposition." Good old day-for-night in the desert with realistic hard-edges and shadows, just like natural moonight, with some digital trickery tossed in for the sky... if you can afford it. If not, check out "Walk About." More fantastic desert day-for-night that is 35 years old and holds up very well.

You don't want your film looking like you ripped off the lighting diagram from some lousy soup opera.

Would there be any benefits with shooting with b&w colored filters in RED RAW then converting with COLOR?

Going to be shooting a music video with a RED ONE that will be released as B&W.

Can anybody guide me in the right direction as were to start from image acquisition to final release. I know there are many plugins for digital b&w still photography, but I have not been so lucky to find a b&w plugin for Final Cut.

With Canon EOS cameras, the shooter can actually set the camera up for B&W and even use B&W filters. I'm not sure this is doable with the RED ONE.

Research, on my part, is needed. I have time.

Walter

I believe they left the Joker hanging alive, is that they planned to bring him back for the next installment.

The Jokers role was likely finished long before Health Ledger die. His post sound work was too polished. I doubt if they do the ADR post production work before the shooting is finished.

i don't like the fast editing cuts a lot of recent action movies have used. it's a cop out, IMO. if you don't really know how to block and stage a fight scene, just do a bunch of rapid cutting and cross your fingers...

 

Quantum of Solace took it way too far. The opening shot of the car chase was ridiculous.

I agree. It's getting boring watching the hero walk through crowd of baddies taking them out with one wicked cool punch. For one of the best references on staging a fight, take a good look at "Rob Roy." Each strike and thrust has a consequence-- for both fighters. Even bad asses tire fast, and desperation soon takes over.