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I wanted to share a problem I recently encountered on a feature I shot in May/June of 2017. This website is a great resource to search for solutions to film specific problems and I feel my experience with G Drives, partition maps, formatting, and Red Undead can help others who may end up in the same situation. I will go in depth on what I learned and end with a simple tutorial on how to fix the problem. Detailed Story The production I was shooting decided to have post-production be a Windows OS based workflow. Per usual, I checked in with the post-team to figure out their OS and togeth
Hi I am a Cinematographer on a feature film that we're going to start filming in September on the ARRI Alexa EV camera. We have the SXS cards and can max film in ProRes 4444. My question is, is it worth trying to find faster cards and then film in ARRI raw? Or do I get almost the same quality out of the ProRes 4444. The film is properly going to end up on a DCP 2K or 4K. We are setting the camera up fro 16:9 full and then use a 1:2:35 mask to frame after. Thank you, Henrik A. Meyer www.henrikameyer.com
Hello, I've bought a used Arri Sr3 Highspeed. It is adjusted to super 16. I haven't used it in a while and I have an anamorphic shoot coming up where I will be using 2x anamorphics. I want to shoot in Normal16 to get the 2,66:1 aspect ratio. Do I have to get through the adjustment of changing the camera's lens alignment, the opening in the universal film gate and the viewfinder alignment in order to convert it to normal16? I lack the tools and the experience to do so. I get that I definately need to do this when adjusting from normal 16 to super 16, but isn't it sufficient to just change t
I read that the Panasonic AG-DVX200 features a 4/3-type, large formate image sensor. Doesn't the AF101 has a MFT sensor? So shouldn't it be a large format as well though the crop factor is around 1.7x to S35mm and 2x to full frame? or 4/3 and MFT are much different in size and format? thank you for any clarifications :)