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Found 21 results

  1. Hi, I am looking to purchase an Alexa Classic. Must have: - Low hours (less than 1500 hours). - Highspeed license - Ability to do at least 2k internally and Arriraw externally. - Full working order, no issues. Willng to pay up to $8K all in (including any taxes, fees and shipping) depending on the camera. (dealers beware, I will not pay more) Paypal or other secure forms of payment for both buyer and seller a must. I am located in Europe and a solution must be found if importing from outside to not incur import duties. PM me here. Cheers, Clayton
  2. For all the editors who are hiding out in this forum :ph34r: ....I was wondering if film is actually cheaper to once you got to post than video. Specifically, can you outline the difference in workflow between a Super16mm workflow vs shooting in 4k(or even 2k) and finishing on the accepted digital projection format(or 35mm)? My guess is that film would come out a bit cheaper and easier to manage for the beginner. Quite counter-intuitive I know, but digitial non-linear editing appears to be a black hole which swallows all of your budget.$10K! I'm betting that a 10:1 shooting ratio on Super16, comes out cheaper than a shoot-it-'til-people-threaten-to-leave:1 shooting ratio on video. Can anyone comment on this?
  3. Good evening. I am looking to buy a bigger light to my kit, and concidering options, I think a 2K tungsten fresnel will be best for my use and budget atm. I have looked at some Aputure lights for their portability, but I dont think the higher cost can be justified, since we are talking $400 vs $1400. Looking at options on ebay now, which brands should I be looking for? Arri is definitely an option, but there are some Altmans and other less known brands as well. Any inputs here? How do we feel about these LED fresnels in here?
  4. Hi, I haven't worked with one of these but interested in getting one for my lighting kit. I am used to renting 2k Mole Richardson Fresnel but for my own kit want something that is light weight and more compact. I love Fresnels, but for my needs with a 2k tungsten is to soft bounce or shoot through 4X4, 6X6 and 8X8 most of the time so an open face is just fine. Also I have a limit to how much gear I can have for my own kit to store and transport in my car so I have to be smart about every piece of gear I buy. My main concern older homes with a 15amp circuits with a 2k light and I don't see a lower wattage bulb for this light? Any solutions for this? Also does anyone have some suggestions of another tungsten light that is light weight and compact and 2000 watts?
  5. Hello colleagues, I'm shooting my first film on 35mm in the of next month and I've been in contact with a lab in Stockholm about the developing and scanning. The quote they sent me, however, has left me a little puzzled - and instead of potentially making a fool out of myself with them I'll take my chances with you guys (ha). They want to charge me for 2 scans - 1k AND 2k. The lines in the quote are the following: Scan 1K onelight 35mm 4perf Scan 2k EDL to dpx Is it really necessary to have a total of two scans? Since skipping the 1K could potentially save us a substantial amount of money I'd just want to make sure. This particular lab is the only place left in Scandinavia for developing 35mm, so I doubt they're trying to rip me off. Thankful for any answers! Best, Kaspar
  6. Hello Had queried about use of spherical as well as anamorphic lenses for a diploma film project in a different forum. Now I have decided to shoot the film in both the formats - flat as well as scope. If I shoot 1.33 spherically and 2.35 on anamorphic, then the negative will be scanned to 2048 x 1536 (10bit dpx) in both cases, if i am using the universal gate on Arri 535B (4perf). Now how will the project be finished to final 2K DCP post grade if the film contains both the flat as well the scope material. Also due to Kowa Prominars not being in perfect condition, we might be sourcing Hawk C Series lenses from the rental. Can the members reflect on the look and image qualities regarding the same lenses. Will be shooting the spherical portion on Zeiss High Speed Lenses. Thank You Regards Shashank Walia Class of 2011 Film and Television Institute of India
  7. 18k = IMAX 15-perf (or 36K?) 12-13k = 70MM 5-perf 6K = 35MM 4-perf 3K = 35MM 2-perf 1.8K = S16MM 1.5K = 16MM 720p = S8MM 480 = 8MM I had to share this with someone. I found so many people including myself looking for these numbers I had to compile this list. I cannot find anything close to this on the internet all in one place. Digitally, IMAX is referred to as being three times better/larger than 35mm (18k / 6K). On Film, IMAX is three times larger then 70mm and 70mm is twice as large as 35mm therefore it should be six times as large. This is of course the best possible scenario of each format. These are all comparables, they cannot be absolutely perfect. I'm comparing category to category. So much in the real world changes these numbers, for example cropping 16mm to a release format reduces the frame size and corresponding resolution or finding a camera and lens that can shoot S8mm or 8mm and come close to 720 or 480 quality.
  8. Hello all, For sale is a Phantom MICRO LC320 Package, $41,000 Firm. Phantom MIRO LC320, Color 12GB Memory, PL or EF mount (your choice) 1 Top Handle Assembly - Miro (2 Parts) 2 I-Plate for Miro IPLATE 1 Rosette Bar for Miro 1 Cine-Style Riser for Miro 4 Swit S-8U62 DV Battery 1 Sony BC-U2 Dual Battery Charger 1 Phantom Cineflash Reader/Dock, ESATA Connection To PC CINEDOCK 1 Cine Dock Power Supply 1 12-pin Fischer to 6-BNC Capture Cable for Phantom Miro Camera. F12CMP 1 ESATA cable. ESATA 1 XLR 4-pin to DC Miro Adapter Power Cable EXXLRDC 1 Phantom PCU Control Box PCUBOX 1 Breakout Box for Miro MIROBOB 1 Frezzi FPS-100-12A Power Supply for MiroBob 1 Fischer 8-pin to Ethernet Phantom Cable F8CMP 1 BNC to Lemo 2-pin Phantom Remote Trigger Cable 1 Remote on/off (Pickle switch) for Phantom HD/65 PHRMT Dell Precision Mobile M4600, Genuine Windows® 7 Professional, No Media, 64-bit, English 1 Laptop Case for Phantom Kit DELLCASE 1 Phantom Cineflash Memory Module, 60GB 1 Pelican iM 2750 Storm Case 1 Phantom Cineflash Memory Module, 120GB
  9. I purchased the sony fs700. it is a great super slow motion camera. I've been waiting for the 6.4 update from Atomos. They said it will support sony raw. however i'm not sure if it is going to support the super slow motion or not. Sony FS700 shoot up to 240fs @2k. please share your thought and opinions.
  10. Yes, another 16mm question :) I have two 16mm color double-perf Kodachrome prints (less than 400' each) that I've been storing at the Academy archives in Hollywood. These prints from 1965 & 1968 document two world premieres here in Los Angeles and the color & condition of the both rolls are stunning. I don't think they've ever been projected. When we found them, we originally screened them on a flatbed Moviola and thought we had color reversal film. Closer inspection of the film over the light table revealed it was, in fact, Kodachrome. My question is: what is the best way to both archive this & digitize it for use in Final Cut Pro? There is lot of discussion on the forum regarding 2K vs 4K 16mm scans, but I'm presuming this refers to NEGATIVE, not print. Any tips, pointers or advice? Many thanks :)
  11. Hello everybody, I’d like to share with you the first 4K SUPER 8 FILM IN 3D. It’s one of my 5 submissions to the KODAK SUPER 8 FILMMAKING CHALLENGE. Click on the link below to go to the Audience Awards website to watch the film. FAIR WARNING: You MUST use anaglyph (Red / Cyan) 3D glasses to experience the 3D effect, otherwise the image looks just blurred. Headphones are also recommended. Don’t forget to vote please. Thank you, MOY Link: http://theaudienceawards.com/films/4k-super-8-in-3d-by-moy51613#
  12. IDT Y5 HDiablo high speed camera for sale. Well taken care of, only used by me. A 2k res camera for the budget conscious. Please see the showreel link below IDT Y5 Diablo is cinematic high speed to the next level. Starting with the scientific-industrial standards, the cameras are enhanced with a cleaner image, less noise and improved algorithms for superior video output. Independent HDMI and Pixel Pipeline provide constant monitoring and real time image adjustment while YiFi enables wireless control via mobile computing devices such as iPad and iPhone. HDiablo enclosures are specially built to better fit in the rigs needed for film sets. Y5HD surpasses shooting high definition providing a 2560x1920 image at 640 frames per second at max resolution and even faster at reduced resolutions. Extra Accessories included/thrown in: Y series Battery (attached to right of camera in the pictures) Nikon and PL lens mounts Power unit 2x lemo power cables Handle Trigger cable Carrying case Software dongle Extra ethernet cables Hawk Woods v mount battery plate with lemo connector for extended field use. Here's a showreel shot totally the IDT y5 Hdiablo https://vimeo.com/66530094 Looking at US$23K for the whole package, excluding shipping and willing to ship to anywhere in the world.
  13. As it looks like I will be getting either a 2K or 4K scan for my 16mm short film (and not doing a traditional A/B negative cut,) my main concern now is preserving the grain structure that I achieved in-camera. I went for a specific look with this film and pushed 7219 2 stops, creating a nice amount of grain. As I read and look online and different clips on Vimeo & YouTube, I see a lot of 2K scans that look too pristine. Not all, but a lot. So my question is will I still be able to retain that kind of gritty look with a 2K scan, or will it defeat the purpose of the original look I was going for?...
  14. Asking 55k Cinema Lens, 1.45-1.8:1 Anamorphic Lens 1.25x w/motorized mount Lamp 3kW, short arc Light output 12,000 cinema lumens Digital MicroMirror Device™ 3 x 1.2” dark metal type Advanced DLP Cinema™ signal processing: CineCanvas™ image management; CinePallette™ color management, CineBlack™ contrast management and CineLink™ security management Native resolution 2048 x 1080 Housing Hermetically sealed DMD™ and optical assembly Screen Width Screen width (screen gain 1:8) @ 14ftL: 17m - 55ft adjustable light output CLO software Mounting Standing or ceiling mounted Up to 7 degrees tilt via projection head Lamp 1.5k to 4.0k Xenon arc lamp sizes Compatible with standard and high performance lamp types Contrast ratio 2000:1 Digital Video Inputs 2 x SMPTE 292M inputs£ 2 x DVI input both selectable as single or as dual link Prime lenses M25 1.25 - 1.45:1 / M25 1.45 - 1.8:1 / M25 1.8 - 2.2:1 / M25 2.2 - 3.0:1 zoom and M25 3.0 - 4.3:1 Projector diagnostics Via touch screen Via D-Cine Communicator control software (theater edition delivered standard on every product) Via SNMP agent Power requirements 1 x 220V max. 17,000 BTU/hr (with 4kW lamp) Dimensions projector: 640(H) x 730(W) x 1186.1(D) mm / 24.2(H) x 28.7(W) x 46.7(D) inch powerbox: 295.3(H) x 329.5(W) x 473.7(D) mm / 14.6(H) x 13.0(W) x 18.6(D) inch Weight projector: approx. 125kg (275lb) powerbox: approx. 20kg (44lb) Options CLO - Constant Light Output control Anamorphic lens fitting for 1.25:1 scope lens Acsar 2 Alternative Content Input Processor ImagePRO HD SNMP agent (v3)
  15. Double post. Sorry can't figure out how to delete on my mobile. WWW.JUSTINLOVELL.COM
  16. Contact me on the contact page of my website if interested. I have the si2k mini for sale. I have the si2k body for sale. Pl adapter Touchscreen monitor Eyepiece And some other accessories. Still no other camera that creates the emotional film texture quality that the si2k delivers. Upgraded to dvr 3.0 which can do multiple different frame rates (up to 85p) at different resolutions. Most of the work on here was shot on the si2k. WWW.JUSTINLOVELL.COM
  17. Hope I'm not overstepping here, but I just wanted to let folks know that we've upgraded our Lasergraphics ScanStation and can now handle both mono and stereo Super 8 sound. While mono was most common, since that's what most cameras recorded on the wider main stripe, it was/is possible to record audio to the balance stripe on the opposite side of the film, using certain projectors and viewers. The custom mag head can read both stripes, in perfect sync with 2k scans, at any of the frame rates that the scanner works at. The scanner compensates for pitch changes due to the faster (or slower) scan speed, automatically. Thanks! -perry
  18. February Scanning Special For the month of February, Gamma Ray Digital is offering the following special rate for Super8 and 16mm 2k scans to DPX or ProRes files on our Lasergraphics ScanStation. This is only for members of the Cinematography.com forums: 2k DPX Log scans from negative -OR- 2k DPX or ProRes flat scans (ungraded) from prints/reversal: 16mm, 16bit DPX: $0.43/foot 16mm, 10bit DPX or ProRes 4444 or ProRes 422 HQ: $0.35/foot Super-8, 16bit DPX: $0.54/foot Super-8, 10bit DPX or ProRes 4444 or ProRes 422 HQ: $0.50/foot No extra fees for optical audio capture. Low minimum order size. No fees for file copy if you follow the hard drive guidelines below. The fine print: 100' minimum for Super 8, 200' minimum for 16mm. You supply the hard drive: eSATA or bare Internal SATA in NTFS format required for DPX; eSATA, Firewire 800 or USB3 in HFS+ or NTFS for ProRes. Does not include return shipping costs. Order must be placed and film must arrive at our office before Friday, 2/28/14. Payment by credit card, PayPal or wire transfer (cash is ok if you're picking up in person). A small setup fee may apply if you have lots of short reels (50' for S8 and 100' for 16mm). Let us know how many small reels you're sending and we'll let you know the setup fees, if any. Turnaround time is typically two business days, depending on how much film you're scanning. Let us know if you've got a deadline and we'll make it work. To place an order, use our contact form (http://www.gammaraydigital.com/contact), and include the code "CINEMATOGRAPHY" in the Subject line. Let us know your cinematography.com username if it's not your real name, how much film you've got, and what gauge/type.
  19. As some of you may know, we recently acquired a Lasergraphics ScanStation at Gamma Ray Digital. We're putting together some demo videos, and would like to include as many formats as the scanner can handle. We're all set with Regular 8, Super8 and 16mm, but if you have high quality (sharp, well lit, G-rated) footage in Super 16, Ultra 16 or Max 8, please send me a PM. We're looking for things like landscapes/cityscapes, architectural footage, nature footage, slow motion or timelapse. Basically, footage with relatively little camera motion so that we can easily put titles over it. In exchange for letting us use your footage on our website and YouTube/Vimeo channels (with credit, of course), we'll scan a couple rolls (50 footers for Max8 or 100 footers for Super/Ultra16) at no charge to 2k DPX, TIFF or ProRes files - your choice. As a thank-you, we'll also give you a deep discount rate on additional scanning. We can only offer this to the first couple of people who send us film in each format, so if you do have this kind of footage, please let me know so we can make arrangements. Here's an example of one of the videos we've already made: I hope this doesn't come across as spammy - we're really just looking for some footage to show off the machine and I'm too impatient to wait for the right material to come along! Thanks! -perry
  20. Gentlemen (and ladies), as some of you know I have shot on film and digital. My first short was shot on super16 way back in 2001 and I had a 35 blowup for festivals. A little trailer I cut in December from an HD scan of our blowup... http://www.youtube.com/watch?feature=player_embedded&v=tMFRPMHTiZ0#! Over the last three years I have shot a number of shorts, some using DSLRS and some 8mm (a format I love). Right now I am in talks with some people about a feature film project and while everyone wants to shoot on the RED EPIC, just because the EPIC is cool and easy and cheap (uh, yeah, ok), I want to shoot one of the three acts on film. The story lends itself to this as we need a different look for each act. I also want to be able to say "we shot on film" not only because it's an interesting talking point, but also because before long I think it won't be possible. What I need to know is this: What would you advise as the cheapest solution and workflow for shooting on Super 16? 35mm is out, naturally, due to cost. I like the look of super 16 and it's easy to find lenses in the NYC area. Back in 2001 when I shot my first short the negatives were processed, given a one light with time code and we edited in AVID. Then the negative was cut AB style and we bypassed creating a positive (because I was out of money) and made a 35mm print from the AB rolls. (For a feature we clearly would not have been able to skip the positive step) It is now my understanding that traditional negative cutting is almost never used today. ??? The people involved with this planned film are almost 100% RED and 5D people and as you can imagine, mostly low low budgeters. Those that have shot on film were not in any way involved with post. So I go to you for ideas! I hear things like, "It's too expensive to scan all that negative and color correct it." So how about photo chemically, like it used to be done? "No that's too expensive too." Etc. etc. Thanks for your help.
  21. Hi. You're making a movie with a 60D (1080p FULL HD at 24p) and you want to blowup it to 35mm. What resolution would you use in FinalCut? Full HD (leaving all the hard and expensive work to the LAB)? 2k (resizing the 1080p FULL HD material to 2k size)? OR 4K (resizing the 1080p FULL HD material to 4k size)? Any additional tip will be much appreciated! MR
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