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Found 8 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. I have a problem in connecting ARRI D21 and CODEX 3010 to record ARRIRAW format. My situation: I set ARRI D21 camera internal settings to ARRIRAW format, output HD-SDI1 frame rate 24fps. Then I set CODEX internal parameters: format ARRIRAW 2880 / 24fps. I connect camera and recorder with DUAL sdi cable in proper order A with 1 and B with 2. And then CODEX says "Input video signal wrong type: HD1080p@" I was readed ARRI D21 manual and setup, and connect system as it was showed in manual. I dont know where is the problem? What I do wrong? Looking forward. Please help me on this insulting case...
  3. Hey there! I'm sorry if this is too many questions at once, but I figured it would be better to just lay my initial questions all out at once instead of peppering them throughout the thread over time. I graduated from college this May with an English degree and a minor in Communications, and I want to go to film school as a graduate student. In order to do this, I need a short film (I'd really like to go to USC). However, my university didn't/doesn't exactly have a cutting-edge film program, so I'm a little flustered. Here's a bit of background about my short film project. It concerns a young woman going to a bar in the early hours of her 21st birthday (it's like 12:08 AM) and ordering her first-ever drink. It's going to be shot without dialog--it will be all body language and sound effects, like a Pixar short, if that makes sense. I want the look of the film to be "objective" (I know that's not a real thing in film) except for a couple of wide-angle shots and a deep focus shot which pulls back over the bar to establish that she's in a bar (if there's a way to do this without deep focus, let me know). I'd also like to do something like this shot from The Music Man (https://youtu.be/CC33O52pGUg?t=2m43s). I don't know how they did it, but I suppose you can cheat it in post if you're a good/patient enough rotoscoper. Anyway, I was looking into what kind of camera I should use to film this project. I've saved up a bit of money and I want to get the best camera possible for the job without requiring me to learn a textbook-worth of information or have tons of hands-on time with the camera before I use it. Since I'll be filming in a real bar (sadly, I haven't saved up enough money to build one from scratch on a soundstage) at night, there will be low light and the possibility of competing color temperatures (since I can't exactly tear out any lights). I'd also prefer to go for as filmic a look as possible. I would shoot the project on film if I could, but I super-don't know enough about film to do that. For this reason, I was looking at either the RED camera or the ARRI Alexa XT. After reading about the RED, I came away with the impression that it was a very particular camera that had kind of a steep learning curve, and that the ARRI Alexa XT would be much easier to shoot with, although I don't know if it's easy enough. My experience has mainly been with that one miniDV Canon SD prosumer camera that everyone had. I also would like to shoot Open Gate ARRIRAW for the project to maximize the pixel count for upscaling to 4K. Since I live near Atlanta, I'm looking at renting from here: http://pce-atlanta.com/. Here is their list of cameras and lenses (PDF): http://www.pce-atlanta.com/pdf/Camera%20Catalog_4_8_2013.pdf. I'm going to be renting the camera and lenses for a weekend. So my first question is: how feasible is this? Especially as I've never used the Alexa before and I'm not an experienced color corrector. Can you just drop ARRIRAW footage into the free version of Da Vinci Resolve or Adobe SpeedGrade and get good results just by messing with a few presets, or is it going to be a month of tedious work? Because I don't have the time to devote every day to it, especially as I'll also be doing foley work. My second question is this: ARRIRAW is flat footage, correct? So how do you know how the colors are going to look when using the monitor? My third question is: how much is that Codex docking station that plugs into the USB 3.0 connection on a MacBook Pro? I've been unable to get a straight answer from their website. And do I need to buy a software license to transfer the ARRIRAW files to a hard drive using it? My fourth question is this: what kinds of lenses should I use? I was thinking of just getting a zoom lens, since that would be cheaper, but would I be able to pull off that deep-focus shot with it? And ARRI's website tells me that shooting in Open Gate ARRIRAW can be a problem because a lot of lenses don't fully cover the sensor area. Do any of the lenses on that list qualify? I'd rather not abandon the Open Gate part of my plan, but I'd sooner abandon it than abandon the Alexa XT (although if I weren't shooting in Open Gate ARRIRAW I guess I could switch to an Alexa with the XT module), so if I have to, I will. My fifth question is: do I need to get a new tripod? I mainly have the kind which you can use for still camera work or for that relatively light Canon prosumer camera I mentioned. Is the Alexa XT a heavy camera? My sixth question is: lighting. I don't understand it. I have a lot of questions about it. I'm considering just using the available light for this reason. For instance, I understand the three-point lighting method (or I think I do, anyway) and I understand how it's easy to do in close-up, but what happens when you cut to a long shot from a different angle, exposing where the lighting rigs would be? My seventh question is: how do I keep it from looking like TV? Let me elaborate on that. I initially thought that aspect ratio played a part in making TV look like TV, but Better Call Saul looks like a movie to me, and Witness for the Prosecution, mistakenly presented in 16:9, looked like a movie as well--not like TV. So my theory is that it has something to do with coverage and composition (and maybe editing and lighting, too). I want my short film to look like a film. What are some common pitfalls I should avoid if I don't want my film to be mundane? I think that's it for now. If you guys could do me a favor and keep checking this thread, I'm sure I'll have more questions. Thank you so much for your time. Also, please let me know if in the future I should make separate topics for questions with separate subject matter. I just didn't want to clutter up your forums.
  4. I was wondering if anyone had any advice on ARRIRAW workflows. I am getting ready to shoot a feature with the D-21 recording ARRIRAW externally to an S.Two OB-1. I am most looking at most likely using dpx sequences for editing, but I was wondering if anyone had some advice in this area. Thanks in advance.
  5. Hey guys, I'm DP'ing a short film soon and need a little advice. I've not DP'd since exactly a year ago and have stepped away to 2nd AC and trainee in the "real world" so to speak. As such while I'm confident of my abilities on the camera side of things, my lighting experience has been limited to say the least! The script is mostly exterior - the A plot is a man in a car. I was wondering - how should I go about getting a consistent "look"? My plans at the mo are to use two HMI's and fire them at a 12x12 frame w/ two silks to create a big bounce. For closer stuff I made a reflector last year that work really well - it provided a strong eye light (a favorite of mine) while wrapping the subject in light. I've two choices of camera, the Panavision Genesis and the Arri D-21. The D-21 blowout is far more "filmic" and controllable (something I've found the Genesis not to be) but the black are far and away better on the Genesis. I have a lot of experience w/ the D-21 from past shoots, while the Genesis I've only been able to get my hands on a couple times. The D-21 can export LOG-C at 4:4:4 DPX files (no ARRIRAW), but the Genesis can only export REC-709 4:2:2 (no PANALOG), which with me being a post kinda guy is making me lean toward the D-21... but whadda you guys think? For anyone interested, here's the trailer for the short I mentioned, "Loved App" (shot with a Sony F3): If anyone's interested in seeing the full short and providing some critique, I can send the link! Thanks all!
  6. Hey Folks! I'm working as 2nd/offloader on an Alexamini shoot and was informed by our producer last minute that we'd be shooting open gate, recording to a 7q. I've worked in the past as an off loader on Alexa and had straightforward transfers with shotput. Haven't experienced arriraw workflow, so really I'm asking for the basics as my knowledge is limited in this capacity and have struggled to find answers online. Prior to transcoding (debayering), it's my understanding that arriraw records as individual frame captures. If i'm wrong, tell me. None the less, will this be reflected in the file structure that I would be downloading from the 7q (as in folders containing each individual frame) or should I expect the .mov files I'm used to when working with the EV and XT? The former seems impractical and the latter an incorrect assumption as it'd defeat the whole purpose of raw. I'm not sure where the gap in my understanding of the system lies. Would appreciate any help! p.s. First time posting. Have very much appreciated these forums as a reference for specific issues. Thanks for posting so much helpful info!
  7. Macbeth Trailer IMDB Link http://www.imdb.com/title/tt2884018/?ref_=nm_flmg_cin_4 "Macbeth, a Thane of Scotland, receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders his king and takes the throne for himself" Director Justin Kurzel Cinematographer Adam Arkapaw I watched Macbeth on the cinema 3 weeks ago and was very reluctant to write about it because I did not know what to say about it as it made me think about cinematography, art, filmmaking, life and everything else. However, I watched it today on the cinema again and I could not help but writing about the movie. There are sometimes when art and filmmaking come together, we have examples from the early cinema (Berlin) to contemporary cinema (Waking Life). In my opinion, the movies which mix art and cinema usually do not have a very good distribution and it is very difficult to see them out of the cinema festivals (Sitges, Sundance, etc). What we have on the screen nowadays is a movie which tries to bring that to the masses and it works perfectly. A couple of years ago we had a very interesting adaptation called "Anna Karenina", directed by Joe Wright, Mr. Wright decided to do something absolutely different and staged everything as if it were a play, it was a very risky movement but it was one of the most fenomenal movies of the year. Although "Macbeth" does not go that far as to staged everything, Justin Kurzel created a universe where he introduces art, paintings, movement, magic realism and plays with the characters' fates as if he were a demiurge, Shakespeare himself but using all the possible imagination to produce a stunning piece of art so it is as risky as "Anna Karenina" was. Imagination and imaginative, those are the words that I would use to describe a movie that should be in the MOMA and the TATE on a permanent exhibition to show people how to create a world through images which create sensations. The very first act and the third act are just marvellous pieces of art by themselves, the central act is a bit less spectacular because it involves Macbeth's madness and it is told in a more narrative - linear way but it is stunning by itself. I think that this movie deserves being seen on a big screen so you can just be immersed in it. Of course, there were people who left the screen room where I was watching it (in both cases) but those who remained got a beautiful reward. Thanks to all the crew who made this movie possible if you ever read this. Have a good day!
  8. I'm using an arri alexa, recording to Odyssey 7Q, Raw. Connected by sdi cable which from my understanding should be giving embedded audio. I see the levels at the top right of the 7q when I'm recording. Later, once it's brought in, in each arri raw folder there is an accompying .Wav file. But when I check that file there are no .wav forms present. There arn't a lot of audio setting options on the 7Q, not sure why I'm not getting it. Any ideas?
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