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Hello fellow cinematographers and film makers! If I could borrow 3,750 frames at 24fps of your time to review my new reel. It would mean a great deal to me if you could offer some critique afterward. I'm in the middle of a huge push to take my work and career to greater quality and new opportunities. Any feedback would be greatly appreciated. I would be happy to return the favor. Thank you and happy shooting! Alex www.alexfuerst.com

At the forthcoming BSC expo in London, Carey Duffy of Tiffen UK will screen the Tiffen 4K Diffusion tests I shot for them late last year. The tests consisted of a series of simple comparisons between every brand of Diffusion filter Tiffen currently offer and serve as an excellent reference. Designed in conjunction with Steven Poster ASC the test is a simple, but very effective, starting point for a Cinematographer to compare the effect of Tiffens range of Diffusion filters before selecting specific filters to test under their own lighting conditions. We wanted to keep as many of the parameters as simple and unbiased as possible. The light is soft but not too soft to allow us to see the effect of the filter. The half light allows us to judge contrast changes, the backlight and bare bulb allow us to see blooming. Similarly the Primo primes were chosen because I felt they were a). familiar to most Cinematographers worldwide and B). sat somewhere between Master Primes and Cooke S4's in terms of sharpnes and contrast and therefore would be a better lens to showcase the effect of the filter. Shot on a Panavisied Sony F55 in 4K the tests will be presented in 4K at events around the world over the coming months. I believe the idea is that eventually Panavision and Technicolor, who co-sponsored the tests, will have copies of the 4K DCP as reference for projection in facilites around the world, so speak to your local Panavision/Technicolor rep for details, or contact Tiffen directly. For my tastes the current generation of 4K+ cameras are just too sharp, especially when projected at 4K, so for me I cant see myself shooting without some form of filtration either infront of, or behind, the lens, especially if I think the project will be projecting in 4K. I also think a lot of the diffusion filters give the image some texture, something I find lacking in most digital images. It'll be interesting to see how many people feel the same way and perhaps we'll see a resurgence in the use of Diffusion over the coming years. Regardless, these tests should still be a very useful reference for us over the next few years so keep an eye out for them. There's a few BTS images and brief video here along with a few other notes on the tests http://stephenmurphydop.blogspot.co.uk/2014/01/notes-on-tiffen-4k-diffusion-tests.html

Hi guys, I have a fantasy film coming up that we'll be shooting entirely on stage, that will involve a fair amount of digital set extension (forests, mountains, shining dome structures) and background replacement via greenscreen (or bluescreen, haven't confirmed whether it'll be green or blue yet) and a pretty vibrant colour palette. Our two options for camera are the Red One MX and Sony F5 (without a raw recorder, so 1080p 4:4:4 only). I'll be lighting with tungsten almost exclusively (the lighting grid is mainly 5k fresnels and 2k soft lights), so I'm a little weary about the impact that will have on the shadows with the Red (most of the scenes will be pretty low-key). However with the F5 we'd only get 10-bit 1080p 4:4:4 as apposed to 4K Redcode raw with the Red One. So I'm wondering what people's leanings would be camera-wise? I'd also really appreciate any thoughts or suggestions people have for using atmospherics (mainly haze) with greenscreen components? We really need haze for atmosphere - but we probably need clean keys more. I'd love to hear anyone's thoughts on the matter. Cheers, Mark

I've just been finishing up an article about how Panasonic have a new handheld P2 camera that can record to off the shelf SD cards at up to 50Mbp/s and turned to the front page to discover David had posted this article: http://www.redsharknews.com/technology/item/1532-totally-unexpected-move-by-sony-f5-and-f55-cameras-to-support-prores-and-dnxhd WOW! Things are changing in the camera industry that's for sure! Freya

I shot some footage on an EX-3 for the first time in PAL, 1080 25p 1/50th shutter and there is very noticeable flicker strobing effect. But it's exteriors, theres no light sources, just an overcast day. I know it's not my camera because I switch back to 24p 1/48th, every things fine. Anybody have this issue? And if so, anyway to fix it on the footage already shot?

Selling two of my cameras 1. Sony PMW-F3 Great condition Only body 2. Canon EOS 1D mark IV EVO PL-mount Custom rebuild by German co More info and pics, email Location: Sweden

Sony develops magnetic tape technology with the world's highest areal recording density of 148 Gb/in2*1, able to record approximately 74 times (185TB)*2 more data than conventional magnetic tape media. http://www.sony.net/SonyInfo/News/Press/201404/14-044E/index.html Tokyo, Japan, April 30, 2014 - Sony Corporation ("Sony") today announced that by independently developing a soft magnetic underlayer with a smooth interface using sputter deposition*3, it has succeeded in creating a nano-grained*4 magnetic layer with fine magnetic particles and uniform crystalline orientation. This enabled Sony to successfully develop magnetic tape technology that achieves the world's highest*1 areal recording density for tape storage media of 148 Gb/in2 (gigabits per square inch). This areal recording density is equivalent to approximately 74 times the capacity of current mainstream coated magnetic tape storage media, and makes it possible to record more than 185 TB (terabytes)*2 of data per data cartridge*3. Sony will jointly announce these results with IBM Corporation, who assisted with measuring and assessing the recording density of this new technology, at the INTERMAG Europe 2014 international magnetics conference to be held in Dresden, Germany beginning on May 4. *1: As of April 30, 2014. *2: When compared to a LTO-6 high-end LTO Ultrium format data cartridge utilizing a linear recording system (uncompressed). When converted to one LTO-6 cartridge. *3: The sputter method is one form of thin film deposition. Electrostatic discharge is used to force argon (Ar) ions to collide with the material (target), and the materials generated from the collision become the thin layer deposited on the substrate. *4: Magnetic particles of a few nanometers in size Cross-section structure / Comparison of Crystalline orientation / Image capture of resulting magnetic particles (top layer) / Comparison of magnetic particle size In recent years, the rapid recovery of data systems such as databases and data servers following natural disasters, as well as secure management of information has become ever more important, and companies around the world are proceeding to build new data systems. In addition, the expansion of cloud services and the creation of new markets to utilize big data have led to a growing need for a data storage media which can store large amounts of information. Magnetic tapes with a coating of magnetic powder measuring tens of nanometers applied to the top of the film are currently considered the mainstream form of tape storage media. LTO-6 high-end LTO Ultrium format data cartridges that are based on this technology utilize a linear recording system (uncompressed) and have an areal recording density of approximately 2 Gb/in2, with a total recording capacity of 2.5 TB (uncompressed). Until now, recording density of this type of media was increased by enhancing the miniaturization technologies that enable the size of magnetic particles on which data is stored to be decreased. Although coated magnetic tape is highly suited for mass production, the development of technologies capable of further reducing the size of magnetic particles in order to increase recording density in the future has become a significant challenge. Sony has developed a new vacuum thin film forming technology which is able to form extremely fine crystal particles with the aim of creating a practical, next generation tape storage media. This newly developed magnetic tape technology uses sputter deposition, a type of vacuum thin film forming technology, to generate multiple layers of crystals with a uniform orientation on a polymer film with thickness of less than 5 micrometers. Until now, when the sputter method was used to deposit a thin film of fine magnetic particles on a polymer film, roughness on the surface of the soft magnetic underlayer caused the orientation of the crystals in the underlayer above it to become non-uniform. This in turn caused non-uniform crystalline orientation and variations in the size of the magnetic particles (grain) in the nano-grained magnetic layer directly above the underlayer, and prevented increases in recording densities. By optimizing sputter conditions and independently developing a soft magnetic underlayer with a smooth interface, Sony has made it possible to minimize disparities in crystalline length and growth. This enabled Sony to create a nano-grained magnetic layer composed of fine magnetic particles with an average size of 7.7 nm. When the magnetic tape created using this technology was measured and evaluated using an exploratory recording and assessment device, this new media was shown to achieve the world's highest areal recording density of 148 Gb/in2, equivalent to approximately 74 times the capacity of conventional coated tape media for data storage. Sony will continue to work towards commercializing this next generation tape storage media, as well as the development of increasingly advanced thin layer deposition technologies based on the sputter method, with the aim of increasing recording densities even further.

Hi Guys. I'm testing the PL Mount on the Sony F55 (v2 firmware). I have changed the Lens Interface to 'Type C' and mounted a Cooke Mini S4/i (or Panchro). The Data appears on the monitor but it is using Metric Values. As nearly all PL lens have imperial distance marks this serves no purpose for me. I can't find a menu setting to change this. Does anyone know of a menu setting or a firmware update to change this? Many Thanks, Darren.

Some time ago an agricultural supply company came to me and asked to produce a dynamic "cool" commercial for them, something that will attract visitors to their booth in shows. We took two professional extreme bikers, and brought them to the field. So here is the commercial I shot using Sony FS-700, Sony EX-3 and 2 GoPro cameras. Keep in mind this is not a TV spot, but rather a video that meant to run on big screens in agricultural exhibitions. Enjoy!!

Sony Solid State Memory Recorder PMW-EX30 HD Rec/Edit Hard to Find $ 2400.00 Description: Model: PMW-EX30 SN: 110211 Includes: Accessory cords (1) remote control (1) manual (1) XDCAM CD Instructions (2) SXS Memory Card Plastic Holders New/ opened box. Orignal box and shiping materials included. Looks brand new. Meter reads 3 hours from testing and insuring operating properly. The PMW-EX30 deck is a highly versatile and affordable compact recording deck, and can be used for many different applications. It allows simple viewing of recorded materials with a monitor, dubbing to other format/media such as HDV™, XDCAM HD and HDCAM™, and feeding to nonlinear editing systems. In addition, the PMW-EX30 deck can be used as an affordable full HD recorder for event recordings – it can record HD signal outputs from a switcher. The PMW-EX30 deck is equipped with a wide array of interfaces including HD-SDI input and output, HDMI output, HD analog component, composite outputs and more. Equipped with two SxS PRO memory card slots, the PMW-EX30 deck can record up to 140 minutes of HD footage using two 16-GB SxS PRO memory cards (in SP mode). The recording time can be further extended up to approximately 260 minutes when an optional PHU-60K professional hard disk unit is attached to the PMW-EX30 deck. more info: http://www.nacamera.com/docs/camera_brochures/sony%20pmw-ex3.pdf Shipping $165 insurance covered Regularly $3400+tx Contact via PM, 289-339-4639 or dannymstone@hotmail.com or Sony-State-Memory-Recorder-PMW-EX3 -Ebay

Hello all, I'm new to the forum as I recently purchased a Sony F5 package, a decision made for our production of an upcoming indie film. After getting hands on this product I am blown away. What a beautiful image. In looking at lens options on a budget I'm drawn to the Angenieux 25-250 T3.9 from the mid 70's (no135 and up). Does anyone have experience using this lens on a digital cinema camera at 4K or above? I want to say "if it was good enough for Kubrick it is good enough for me." I understand the exterior zooms in Barry Lyndon were all shot on this lens. Thanks and I look forward to being a part of this forum. PS: This is not my setup in the pic

I am selling my trusted Sony PMW-F3L PL Mount camera including: S-Log Upgrade, 3x SWIFT Batteries and SWIFT charger 3x 32GB SxS-1 Media (in cases), On-board Mic. No Lenses included. It's mostly been used on a few interior based branded-content shoots with only 175h on its back. It has only been owned, operated and maintained by me and never rented out. The camera is technically in perfect condition, apart from the faults mentioned below, which are due to poor material choices: 1. The Mic-mount doesn't lock perfectly since it's made of rubber and broke off a small piece, but the mic itself and XLR connections are in perfect condition. 2. One PL mounting ring knob is also made of plastic and came off. However since there are still 2 other knobs left, it doesn't pose a problem. Recording and look of the camera are exceptional. Even at 6400ISO, noise is subtle and looks organic. Included in the kit are 3 SWIFT batteries and charger. The advantage of SWIFT batteries lies in the additional D-Tap output which allows the operator to power accessories like Monitors, transmitter etc. Latest Firmware 1.4 $11.500,00 I'm also selling my AJA KiPro Mini, which records in Apple ProRes 422 (HQ) natively, including: 4x 64GB San Disk Extreme Pro Cards, 15mm Rod Mount, 2x Mini Mounting Plates, Anton Bauer Mount with 12V 4-pin XLR cable/connector + D-Tap It has seen very little use in the one year that I've used it. I'm selling it due to a upgrade to different camera. Otherwise great unit and useful Apple Pro Res Codec, plus 2 extra Audio channels.. $ 2.000,00 THE KIT: $13.000,00 ($500 discount) Shipping not included and ONLY to US , Canada and EU. Local NYC PICKUP available. CONTACT ME FOR MORE PICS/INFO/OFFERS: contact@nicolasdoldinger.com

Hi, I'll be shooting on a sony F3, recording 444 S-Log on a Pix240, and at the same time recording a REC709 "proxy" on SxS cards, for editing. I wanted to know how to make sure that the externally recorded footage will properly conform with the proxys. Obviously the timecode will match, but is there a way to have also the filename and Reel name match ? Thanks ++ G.C.

please check out my Ebay listing. Feel free to contact me at anytime if you have any questions. http://cgi.ebay.com/...em=281055473046 thanks, Mike

please check out my Ebay listing. Feel free to contact me at anytime if you have any questions. http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=281055473046 thanks, Mike

Hey there, we are selling our beloved Sony PMW-F3 with 444 SLog Upgrade. The Viewfinder of the Body is currently out of order. But this should be fixed before it's getting sold. Hours: 730 Bought: May 2011 from MBF, Germany Location: Germany (Dortmund) Package: - Sony PMW-F3 Body - PL Mount - 4x Batteries - SWIT Charger - 2x32 GB SxS - original packaging optional: - TV-Logic Alphatron Viewfinder - Blackmagic Design Hyperdeck Shuttle II with 3x 128gb SSD - Kinomatik MovietubeCR Rig For Pictures (with the fully rigged F3 (but KiPro instead of the HyperdeckII)) see: www.dslr-rig.de/kinomatik/kinomatikmovietubecr+f3.rar detailed pictures of the body on request. reasonable offers only! Best regards, Karsten +49 / 178 190 88 77 www.kameraverleih-dortmund.de