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Found 40 results

  1. Hello, When you are metering a scene, do you meter for the camera's dynamic range, or for the 6 stops in SDR or the 13+ stops in HDR? For instance, if your camera has 6 stops of highlight dynamic range, and 8 stops of shadow dynamic range, do you keep everything in your scene between those 14 stops or do you keep everything in between the lets say 6 stops of standard dynamic range? I hope this question makes sense! Thanks in advanced to anyone who can help! - Matt
  2. There is this old one ... https://variety.com/2009/digital/features/is-it-really-cheaper-to-shoot-in-digital-1118008522/ And a 2015 indie experience https://www.moviemaker.com/archives/moviemaking/cinematography/film-v-s-digital-is-the-expense-of-shooting-on-film-a-misconception What's your thoughts generally (not only on the articles...)
  3. Hi all, I was wondering how one would go about exposing or even using color effect filters like color gradients, Coral, Antique Suede or Day for Night optical filters while shooting on a digital camera and delivering in color. For example, say that you are using an Antique Suede. Wouldn't depriving the sensor of blue light be very destructive to the raw image? To my understanding the blue channel displays the most noticeable noise the most often. If so, how would you combat this? What are the advantages of doing such an important color decision in camera rather than in post apart from the "stops people from messing with your image" argument? Are there any clear optical or overall quality differences? Thanks in advance!
  4. What are some ways I can make the most out of my Canon C100 MKII? I've shot a few micro films on it, but I feel like I may not be using the camera to it's full potential. I watch test videos on Vimeo and they look incredible, but when I shoot I feel like I could get a way better image from my Nikon D3200.
  5. Hi Im about to get a new camera today as a gift, but dont know what to get exactly yet. Can any give me advice and suggestions for digital cameras around $500 and what I should look for in a camera? Thank you
  6. I have available for sale- ARRI ALEXA PLUS 4:3 XR- £41,000 GBP ARRI Alexa PLUS 4:3 XR Camera Body BUNDLE ACCESSORY SET ARRI EVF-1 Electronic Viewfinder ARRI Alexa Rubber eyecup ARRI VMB-3 Viewfinder Mounting Bracket ARRI VEB-3 Veiwfinder Extension Bracket ARRI KC150-S Short (0.35m / 1.2 ft) Cable for EVF-1 ARRI KC151-S Medium (0.65m / 2.1 ft) Cable for EVF-1 ARRI CCH-1 Centre Camera Handle for Alexa ARRI HEB-2 Handle Extension Block ARRI KC154-SP-S Cable 12V Accessory for Alexa ARRI KC20 24v 2m/6.6ft Cable Power - Straight ARRI BP-12 Bridge Plate ARRI Bottom Dovetail 300mm / 12" (Balance Plate) ARRI 440mm Ø 19mm Support Rods (pair) ARRI Lightweight 240mm Ø 15mm Support Rods (Pair) ARRI SP-4 Shoulder Pad ARRI LB-1 Levelling Block ARRI ASD-1 SD Memory Card ARRI UMC Antenna ARRI White Cap BAB-G (Gold Mount Battery Adapter) Codex CDX-3790 SxS Adapter ARRI SxS Pro 64GB Memory Card ARRI SxS Pro 64GB Memory Card ARRI SxS Pro 64GB Memory Card Codex CDX-75112 single XR dock inc cables Codex CDX-3730 512gb XR Capture Drive Codex CDX-3730 512gb XR Capture Drive Codex CDX-3730 512gb XR Capture Drive ARRI ALEXA PLUS- £11,500 GBP ARRI Alexa PLUS Camera Body inc High-Speed License High-Speed License BUNDLE ACCESSORY SET ARRI EVF-1 Electronic Viewfinder ARRI Alexa Rubber eyecup ARRI VMB-1 Viewfinder Mounting Bracket ARRI VEB-1 Veiwfinder Extension Bracket ARRI KC150-S Short (0.35m / 1.2 ft) Cable for EVF-1 ARRI KC151-S Medium (0.65m / 2.1 ft) Cable for EVF-1 ARRI CCH-1 Centre Camera Handle for Alexa ARRI HEB-2 Handle Extension Block ARRI KC154-SP-S Cable 12V Accessory for Alexa ARRI KC20 24v 2m/6.6ft Cable Power - Straight ARRI BP-12 Bridge Plate ARRI Bottom Dovetail 300mm / 12" (Balance Plate) ARRI 440mm Ø 19mm Support Rods (pair) ARRI Lightweight 240mm Ø 15mm Support Rods (Pair) ARRI SP-4 Shoulder Pad ARRI LB-1 Levelling Block ARRI SxS Pro 32GB Memory Card x4 ARRI UMC Antenna ARRI White Cap BAB-G (Gold Mount Battery Adapter) ARRI AMIRA - £27,500 GBP Arri Amira body with w/ Premium License Electronic Viewfinder Sliding Top Handle w/ Stopper Pin & 3/8" Thread Adapter EVF Bracket Screw Cap Viewfinder Cable ARRI Viewfinder Blanking cap 8GB USB Flashdrive ARRI Eyepiece Cushion 2 x ARRI Short Antenna ENG Shoulder Plate WPA-1 Cine Shoulder Plate BP-3 ARRI ENG Plate QRP-1 BNC - BNC Cable (0.5m) BNC - BNC Cable (0.75m) 2 x19mm Bar 24cm 2 x 15mm Bar 30.5cm ARR! Amira PL Mount Adapter ARRI PL Port Cap For more information and pictures, please contact me.
  7. Hi everybody. I have a doubt concerning shooting anamorphic on digital cameras. I know the different camera menus (I'm talking from my Epic and Alexa experience) give me the option to chose between 1.3x, 2.0x and 2.0mag (this last one I have no idea of what it is) anamorphic desqueeze factor but I have no idea of what the rule of tumb is and which one to chose according to what. Feel absolutely free to add anything else that you thing might make things clearer. Thanks a lot, Davide
  8. Hi, I'm planning on applying to a film school this summer, for a directing course. My main focus has always been directing, with cinematography being both a fascinating hobby and something I've had to do for the ultra low budget films I've made. Now, the requirements are that you submit at least two films, of which at least one "made on film (16mm, super 16mm or 35mm)". I've got plenty of digital films to submit, but nothing on film. So I have to make a new one. I've never shot anything on film and, as much as I'd like to have this experience, it would be very expensive. Even with clearance stock, if you factor in renting the camera, developing, scanning, then making the final prints, it would run into the thousands. So I've thought that, since I would be scanning the film anyway and edit it in an nle, I could forgo shooting on film and shoot digitally instead, making a final print on film. The Blackmagic Pocket Cinema Camera has the right sensor size, dynamic range and resolution, so the way I figured, it would look very close to film. And the grain would be in the final print anyway. Might be a weird or crazy plan, but that's why I'm running it people who've worked on film before. Any suggestions welcome! Thanks, Paul. P.S. Regarding the ethics of it, I'm applying to a Directing course. Directing is the same, no matter the medium. If it was a Cinematography course it would've been a different story, but as it is, I seems like a pretty random requirement.
  9. Hi, I'm currently in pre-production on a "kitchen-sink" social realism drama and I'm looking at films like 'Fish Tank' and 'This is England' as visual references for the look of this film. I want to use the flat and dry colour palettes used in these films to create a similar mood and atmosphere for my film. Eventhough my influences are from an 80's style, this is a creative choice for a film with a contemporary story. I will be testing the Sony F55 and the Blackmagic distagon lenses next week to see if this would be a possible substitute for shooting 16mm film as this would be too expensive. I've been told that this would change my depth of field and that I'll be shooting with a 2x crop. The majority of this short film will be shot ecu - mids with occasional wides as it's quite a close and intimate story. I'm just wondering if anyone has any suggestions or advice in regards to my approach? Here are a few visual references. Fish Tank: http://66.media.tumblr.com/f87e91f7a39493982b2c3d601ca6b463/tumblr_mn65qzTtXA1s6aghro1_1280.jpg https://cinenthusiast.files.wordpress.com/2011/02/fishtank.jpg This is England: http://vignette3.wikia.nocookie.net/thisisenglandpedia/images/6/68/Article-1285850004888-0b6ab43e000005dc-948583_636x361.jpg/revision/latest?cb=20150928011720 http://esquireuk.cdnds.net/15/37/980x490/980x490-this-is-england-90-finale-43-jpg-6b3a7d05.jpg (Sorry for the links - this has been sent by mobile) Thanks and any help is much appeciated! Matt
  10. http://movietrailers.apple.com/movies/sony_pictures/passengers/passengers-trailer-1_h1080p.mov Trailer came out today, releases same day as Rogue One. Sci-fi pic about a man & a woman waking up 90 years too early on a spaceship, and everything that ensues. Morten Tyldum (The Imitation Game) is directing and the Black List script has been around since 2007, written by Jon Spaihts (early drafts of Prometheus, Doctor Strange), Keanu Reeves was attached for a while, so were Emily Blunt, Rachel McAdams, etc. Rodrigo Prieto shot this on Alexa 65 & Primo 70 (at least, that's what IMDB says, the Alexa 65 stuff is 100 % true though). This is definitely, along with Live By Night, some of the best Alexa 65 footage I've seen, Prieto is a great great DP, looks cool. On an unrelated subject, I was wondering. At about 10K a day for Alexa 65 + optics + Codex Vault 65 rental, how do these big productions (like Assassin's Creed, Live By Night, etc) justify shooting on Alexa 65? It'd be much cheaper to shoot on film, hell, maybe 65mm would be cheaper than Alexa 65, I don't really get it, not to mention the insane logistics that must be involved in processing the footage, and that kind of data. Maybe the 6K rez is great for the VFX people, but it's not like anamorphic 35mm is that far off.
  11. LOS ANGELES (August 15, 2016) - The 38th edition of The Reel Thing, a three-day symposium addressing audio/visual restoration and archiving, will explore the constantly evolving ecosystem of film and digital restoration and preservation. This year's program will examine legacy film restorations and showcase modern technologies being used to futureproof collections and keep them viable for future display and distribution formats. The event will take place August 18-20 at the Academy's Linwood Dunn Theater in Hollywood. In addition to discussions with industry leaders, premiere screenings of several restored films are scheduled, including the original, uncensored version of John Huston's BEAT THE DEVIL; Marlon Brando's single directorial project ONE-EYED JACKS; and Robert Altman's MCCABE AND MRS. MILLER. Created and co-founded by Grover Crisp, executive vice president of asset management for Sony Pictures, and Michael Friend, director of digital archives and asset management at Sony Pictures, the event supports the programs and services of the Association of Moving Image Archivists (AMIA). "At The Reel Thing, our presenters continue to demonstrate the recovery of the achievements of the first century of cinema even as we assess the challenges presented by the first decades of digital moving image culture," says Friend. "Ever-more effective tools are being devised to address the mechanical and optical challenges of film restoration, and significant new technologies for the long-term preservation of digital data are rapidly evolving. At the center of this activity, technicians, archivists and the rest of the subjective human audience for cinema continue to examine, refine and redefine our understanding of the notion of preservation for both analog and digital moving image art." "It is an exciting time for the archival community as we address the changing technologies that help to preserve collections and our cultural heritage, whether it is film, audio, video or any flavor of digital you choose," notes Crisp. "Our audience is interested in the problems and potential solutions surrounding how we can cope with the issues we encounter in this still hybrid analog/digital landscape we find ourselves in." Presentations at The Reel Thing will feature expert-guided discussions on such topics as UHD/HDR, scanning, color correction, frame rate adjustment, color space and gamut. Case studies on the approach to preserving legacy films in higher quality standards and the processes applied will highlight several panels. Audio restoration will also be explored, looking at the latest technologies in sound. Speakers are expected to include: Michael Pogorzelski, Academy Film Archive; John Polito, Audio Mechanics; David Marriott, Lynette Duensing and Craig Rogers, Cinelicious; Lee Kline and Ryan Hullings, The Criterion Collection; Chris Reynolds, Deluxe Entertainment Services Group; Steve Kochak, Digital Preservation Laboratories, Inc; Wojtek Janio, Fixafilm; Andrew Oran, FotoKem; Gilles Barberis, L'Immagine Ritrovata; and Snowden Becker, UCLA, among others. For more information and to register for The Reel Thing, go to www.the-reel-thing.org. The symposium offers several registration options, as well as discounts for certain industry groups and students.
  12. Hi Guys, does anyone have experience with shoting Sony FS7 + anamorphic lenses? Is it doable technicly- I mean like a desqueeze option in the menu, or is it done in a difrent way? I have a choice to shot a project with Alexa and prime lenses, but I woud rather go for a cheaper camera with S log and use more expensive anamorphic lenses for their look. Thanks for any advices
  13. For sale is a CHRISTIE CP2000X DLP Cinema HD-2K Projector and Christie 7 KW Ballast. The machine is in good working condition and free of technical defects. We can also service your projector. Contact for more details, picture is reference only. Price $13,000.
  14. Check this out. A new indie theater is set to open on Manhattan's Lower East Side featuring both digital and 35mm projection. Metrograph
  15. I wanted to post this conversation in the forums. Here is the original reddit post: https://www.reddit.com/r/Filmmakers/comments/40812r/steve_yedlins_obsessive_film_emulation/ Here is Yedlin's video source: http://www.yedlin.net/DisplayPrepDemo/# And here is his conversation with Mario Carvalhal: http://www.yedlin.net/160105_edit.html Very logical reasoning.
  16. Hi, my friend is selling his Scarlet kit, in mint condition, low hours, never rented. Located in Slovakia, Central Europe. https://www.kitmondo.com/used-red-scarlet-x-for-sale/ref638020
  17. Could someone walk me through the process of rating the Asa of a digital camera?
  18. Used ARRI Alexa M 4:3 in stock. Excellent condition. £19,500 GBP (ex VAT) Condition: Used Warranty: 6 Months Op hours- 1000 Case Containing: ARRI Alexa M Camera Head ARRI Alexa M Body BAB-G (Gold Mount Battery Adapter) Bundle Accs Set for Alexa M Center Camera Handle (CCH-1) Handle Extension Bracket (HEB-2) CCH-2 Alexa M (Head) Camera Handle AMC-1 Alexa M Cage -Consisting Of: Side Bracket Bottom Plate 15mm LW Bar Bracket MEDIA M Handle Syst. - Consisting Of: Side Handle (15mm Bars Fitted) Top Plate - Small Bottom Plate SD Card (ASD-1) 12v 2pin Lemo - 4pin XLR BP8 Bridge Plate ( Short ) Balance Plate 19mm / 440mm Bar (Long) 19mm / 240mm Bar (Short) 15mm Lightweight Bar - Short 240mm 24v Camera / Battery Cable 2m Lightweight SMPTE Fibre Cable Sony 64gb SxS Card Sony 64gb SxS Card Sony 64gb SxS Card 20m SMPTE Fibre Cable (9mm Dia.) Please contact me at Casey@esbroadcast.com if you require any further information.
  19. Codex CDX-3010 Kit £3,000 GBP (ex VAT) Condition: Used Warranty: 3 Months Case Containing: Codex Onboard Recorder CDX-3010 Onboard Control Panel CDX-P065 Codex Recorder Handle CDX-P064 Control Panel Fixing Plate 6-6pin Panel Control Cable Long 5p Lemo - 3p RS Power Cable Dual Mini BNC Loom 4p XLR - 5p LEMO Battery Power Cable 4 x Codex M Flash Pack (256gb) CDX-P300 Please contact me on Casey@esbroadcast.com if you require any further information.
  20. Excellent condition and maintained and serviced by ARRI Media. £17,000 GBP (excluding VAT) + Shipping Camera Case ARRI Alexa PLUS Camera Body inc High-Speed License High-Speed License BUNDLE ACCESSORY SET ARRI EVF-1 Electronic Viewfinder ARRI Alexa Rubber eyecup ARRI VMB-1 Viewfinder Mounting Bracket ARRI VEB-1 Veiwfinder Extension Bracket ARRI KC150-S Short (0.35m / 1.2 ft) Cable for EVF-1 ARRI KC151-S Medium (0.65m / 2.1 ft) Cable for EVF-1 ARRI CCH-1 Centre Camera Handle for Alexa ARRI HEB-2 Handle Extension Block ARRI KC154-SP-S Cable 12V Accessory for Alexa ARRI KC20 24v 2m/6.6ft Cable Power - Straight ARRI BP-12 Bridge Plate ARRI Bottom Dovetail 300mm / 12" (Balance Plate) ARRI 440mm Ø 19mm Support Rods (pair) ARRI Lightweight 240mm Ø 15mm Support Rods (Pair) ARRI SP-4 Shoulder Pad ARRI LB-1 Levelling Block ARRI ASD-1 SD Memory Card ARRI SxS Pro 32GB Memory Card ARRI SxS Pro 32GB Memory Card ARRI SxS Pro 32GB Memory Card ARRI SxS Pro 32GB Memory Card ARRI SxS Pro 32GB Memory Card ARRI UMC Antenna ARRI White Cap BAB-G (Gold Mount Battery Adapter) Please email me at Casey@esbroadcast.com if you require any further information.
  21. As I understand it, most big-budget feature movies record on film as opposed to digital; the common claim being that film provides a much more cinematic image, etc. Does anyone think that we'll come to a point when digital cameras are able to produce an image, indistinguishable from film - and that cinematographers will choose digital over film due to artistic choices instead of being led by financial considerations?
  22. What is the difference between a traditional digital camcorder that looks like actual video made for multi cam productions like soap operas, & camcorders like Arri Alexa that look as much like film as digital technology can manage? Is it the frame rate? Depth of field? Shutter speed? Resolution? Something ridiculously complicated? What is it about these cameras that makes the footage look that different from one another? Additionally, what is the official wordage to differentiate between these 2 types of digital camera? The film-mimicking one has a large possibility of names (like ‘film-style digital motion picture camcorder’), but what about the one that produces traditional video footage?
  23. Eon S Mora

    23.98 vs 24

    My question is partly technical, and partly just a curiosity: When shooting digitally, has anyone noticed a difference between shooting 23.976, and straight 24.00 FPS. I know this is the nearly negligible difference, but these are two different rates of capture. is there any perceptive change in how it feels or the way movement is perceived? Just some context: shooting a film with some folks that are used to shooting film. The project in mind will end up with some sort of theatrical release however it'll obviously be shot, finished and watched all digitally. If this isn't being printed to film, does NOT shooting 23.98 create an enormous post headache? Final question, is any of this worth exploring?
  24. As someone who loves film and the process of it all, and wanting a lucrative career in filmmaking, I would fight anyone who says shooting digital is better (than film) or anyone who puts film down for any reason because I believe film is superior. I still do, when it comes to the approach and the finished product. Well, fast forward into reality, I was about to throw down $3,000+ on an Arri BL4 (plus extras), spoke to a few owners who were more than willing to sell. And although I had that driving force to shoot film and have a big ol’ bad camera, something was bugging me, something was holding me back. Now, I am not a rich man, I’m just like you. But I started thinking, hmmm…most people can’t even tell the difference or don’t care about the difference in picture quality. They also aren’t helping me when I have to purchase, process and scan a 1000’ foot reel. Also, if I differ the costs to the client, then I price myself out of the market if I want to do any ‘for hire’ work. I’m also investing in a camera that will be hard to find parts. So what am I fighting for? Why do I want this uphill battle? Oh, right, the picture quality is supburb and digital still sucks. But it is getting better. Now as nostalgic as Super 8mm is, digital surpassed it. I don’t know if anyone out there could tell me they would want to see a feature length movie on Super 8mm. And as economically as it is to shoot 16mm to a certain extent, digital passed it in regards to resolution and clarity. And it’s just a matter of time before 35mm is caught up with, maybe this year by the new Alexa 65. With filmlabs dwindling in the world, and with Kodak one economic hiccup away from closing, why would I want any counterparty risk to be able to do my work? Yeah, yeah, Star Wars is supposed to be shot on film, etc. etc. etc. but if there’s an economic crash like is expected this year (possibly in the Sept. time frame), then Kodak will be gone, or will become super expensive. And if Kodak goes bye bye, then J.J. Abrams and team will be like, “Uhm guys, let’s do the George Lucas thing and shoot digital seeing that we can’t find any film. And Christopher Nolon might be crying in the bat cave.” And if there’s no film, then I doubt there will be any filmlabs. (Note: If you do not think we are set for a market crash or for an ever spiraling down of the U.S. economy, I invite you to take any U.S. currency bill out from your wallet (if you have any) and I guarantee you, you will not find a bill printed past 2009 (that includes that new $100 bill with the blue stripe…if you’re looking for some tangible proof to what I’m saying that is). You’re money is already monopoly money, you just may not know it yet, shh….mainstream news doesn’t want you to know. To this, l will say one thing and quote J.P. Morgan himself – “Gold is money, everything else is credit.”) So, do I want to buy a BL4 and possibly have nothing to feed it in the near future, and very limited places to process it when digital whom the masses have already accepted helps my wallet? Plain and simple, the infrastructure to shoot film is disappearing more and more everyday. Case in point, the two CVS stores that would develop my C-41 took their machines out last week. Now I have to travel or mail it somewhere. I don’t mind waiting for personal stuff, but for work and clients, I need it today. Now, I will still shoot film for personal use, my old Nikon FG is still kicking, or if I find a 16mm camera at a garage sale, or if a friend is shooting a 35mm movie and needs my help or my own little project, but for my work and my dime, uh-uh, I rather keep as much of my money as I can and shoot digital. What I do like about film is that it allows you be as artistic as you want to be, digital isn’t there yet, but it’s getting there on some level. And I’m not looking for a digital cam that will look just like film, that a pipe dream, but if I can find something I can at least work with, that could be something. I did see one video recently that got me thinking. It was footage shot with the Blackmagic production camera and here’s the link… Is the footage perfect? No, but it does have a different feel I think from the Alexas-Reds-Sonys-Genesis of the market. I could do something with this, I can work with it. The camera housing is butt-ugly, I would have to get passed that. And if not this camera, then another, but the bottom line is, digital makes a lot more cents. Where was my breakthrough you ask? I realized I was emotionally attached to film, and I needed to break that. It was clouding my mind from looking at things objectively. I didn’t want to do Blockbuster’s mistake and not foresee the trend and inadvertenly have my butt kicked to the curb by Netflix and Redbox. Big deal, I can’t call myself a ‘filmmaker’ because I’m not actually shooting physical film through a 40 lb. iron movie camera, oh well, I’ll just have to let that title go for a lucrative career. I’m sure I can find something else to call myself, like, ‘the camera guy,’ or ‘digitizer of the world’, whatever, who cares, at least I’ll have work and food in my stomach as I enjoy my craft. Just sharing my journey, maybe someone else can relate. Best regards, Alexander
  25. Saw this today and noticed a lot of clipping in the highlights. Anyone have similar experiences?...
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