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Found 4 results

  1. 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
  2. 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.
  3. i'm shooting a music video mostly in 60P with lip sync, and want to be able to timecode slate it so, for example, i can shoot a 15 second segment mid-way through the song and know exactly where to slot it into my edit. the tricky part of course is that my camera's framerate is 60P while the project framerate will be 24P. i won't have access to a proper professional slate with timecode (not that i'm sure it would help?) - i was planning on holding up a laptop running timecode from the song to use as a slate. the issue is, if i'm playing back the song on set at 250% with timecode so that it matches the 60P being recorded on my A7S, that timecode obviously won't match the A7S footage when everything is slowed down to 24P. i'm wondering if my solution (though definitely not frame-accurate) is as follows: - export a video file of the song at 24P with a timecode overlay. - re-import that video into my editor and increase speed by 250% so the timecode is sped up as well. - play back that sped up video with sped up audio / timecode on set - slow everything down by 40% for editing and have a rough idea of where footage should fall in the timeline. any advice, better methods of doing this? note: i am using outdated editing software (FCP7) if that makes a difference to this workflow..
  4. Hello, this is my first post of what I hope to be many. This piece was shot on a Sony Fs-100, using a metabones speedbooster, and L-series lenses. Our location was in an underground parking garage. The Fs-100 has a super 35mm crop sensor and the speedbooster gave us the ability to shoot in much darker places with more ease. Plus it opened up the cropped sensor. Our F-stop would go down to 0.8. Our lenses were a 17mm to 35mm and 70mm to 200mm telephoto lenses. Both of these lenses were L-series. I believe we only had one 50mm prime lenses but the lenses did not work well with the speedbooster. The lenses would stick when it came to focus. The Fs-100 also had a slow motion feature that could capture 5 second clips of slow motion. The camera could shoot the slow motion up to 120 fps. The slow motion was not capable to shot at 1080 but down graded to 720. If you have another questions please feel free to ask and thank you for critique.
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