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Found 26 results

  1. Good day forum, Is there any resources(e.g.case studies, videos, books, websites...etc) that demonstrate professional image acquisition workflow (from set to dailies), covering practice and equipment used in the process. I found the below so far: Capturing the Shot: Fundamentals, Tools, Techniques, and Workflows for Digital Cinematography The Filmmaker’s Guide to Digital Imaging: for Cinematographers, Digital Imaging Technicians, and Camera Assistants DITs and Data Management for Features, TV and Commercials
  2. Hey all... I'm shooting a film and we have a few scenes that incorporate a taser being used as a weapon in the story. I'm shooting with a Panasonic EVA1, not sure if there are any in camera solutions to avoid stroboscopic issues...? I would love to maybe see the taser in close up at least being triggered. If not, then maybe I can stage the action for the taser to be triggered hidden from camera, in that case what lighting gags can I do to sell as a taser? My gaffer suggested 2 things for off screen gags... using those small finger glove lights used at raves and/or getting blue maybe even purple coloured bracelet beads from a hobby shop and having them shift around over a flashlight. Is there a better alternative for creating a compact and caustic lighting effect?
  3. Hi all, I'm trying to expand a Retina MacBook Pro via an Akitio Thunder2 Thunderbolt enclosure. I've looked at the Cyclone 2705 and 2707 boxes – they look good but are impossible to buy. Does anyone know enough about the Magma EB7 boxes – usually used for Digidesign Pro Tools setups – and whether they would work for this purpose and offer enough bandwidth? https://www.amplicon.com/IPC/product/PCI-Rackmount-MAGMA-3732.cfm THANKS
  4. As the title says! I'm looking for an option to add several PCIe cards to my MacBook Pro. Via the Akitio Thunder2. The Cyclone 2707 is the option I've been looking at but if anyone has alternatives then would love to consider them too. Thanks
  5. Hi Guys, I have a Magliner Senior in very good condition. It was purchased from Backstage Film Carts about 6 months ago. It's left the house for a grade total of 30 days, so absolutely perfect working order. It has been used as a DIT cart so it comes with the LCD HD Monitor Arm. A solid mounting point for larger monitors. It also comes with a Nose Centre Pin mounting point and an LCD Tild Head VESA mount for a second monitor. It also has an attachable keyboard tray. I paid £2300 for the cart in March. Looking for £1800. Based in Surrey, UK. Cheers, Matt matthutchings@mail.com 07701 016767
  6. Can anybody recommend a decent camera report app (something that can be used on a Desktop, iPhone, iPad...)? I'm just looking for something that logs: Project, Scene, Take, Date, Camera Settings (ISO, Shutter, WB, Color Prof, Stop, FPS, etc..). Not so much for Metadata or TC. Ideally something that can export as PDF and be moved to dropbox or a drive fairly quick. Thanks for your help!
  7. Dit, the proffesion | Camaleon Cinema Services Camaleon Rental blog we are going to speak about the role of a DIT. The first question is to define what a DIT is as well as determine if this position belongs to the camera crew or to the postproduction crew. The answer would be that he is kind of a liaison between both department, even though if we have to make a choice we would say that he is part of the camera department since he works on set. The DIT profession (technical image technician), arrives with the appearance of the first high definition cameras and then with the digital cinema cameras. At this point we should remember that when these cameras arrived both directors of photography and assistant cameramen came from working for many years with film cameras. So after the arrival of such new and different gear, it was necessary the inclusion of a new figure to the camera crew in order to advise the DoP on how to squeeze... More info here.
  8. DIT, The profession Today in the Camaleon Rental blog we are going to speak about the role of a DIT. The first question is to define what a DIT is as well as determine if this position belongs to the camera crew or to the postproduction crew. The answer would be that he is kind of a liaison between both department, even though if we have to make a choice we would say that he is part of the camera department since he works on set. The DIT profession (technical image technician), arrives with the appearance of the first high definition cameras and then with the digital cinema cameras. At this point we should remember that when these cameras arrived both directors of photography and assistant cameramen came from working for many years with film cameras. So after the arrival of such new and different gear, it was necessary the inclusion of a new figure to the camera crew in order to advise the DoP on how to squeeze... More Information here
  9. I’m in New York from Sept 16 - 21 demonstrating a new AC / DIT cart which I've designed. I would like advice on where to show the cart to DITs and ACs in person! Any suggestions would be greatly appreciated. Bill Kerrigan Montreal, Quebec, Canada 514 486 8456 - Office 514 238 9775 - Mobile bill@kerrigan.ca http://www.kerrigan.ca
  10. Quick question for the brain trust. I'm a newbie to the board but not to the biz. Main background is in HD broadcast and TV (20 years), but I also teach film/video production at a small college. Been ASC member in the past. Working the next few weekends with 1st AC as DIT and responsible for file management for the shoot. Have a Macbook Pro and several 1TB Firewire800 / Lightning drives. For those used to working RED, wondering what the best backup workflow is for pulling 5K R3D's from Mini-Mags via a Red Station in the field? How many TBs storage should I plan for over a 48 hour shooting schedule? We've got a limited number of Mini-Mags and will have to recycle often during the weekend. Thanks for any tips to make the experience smooth with no data loss. Excited to work with RED for the first time. Best, - David
  11. 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!
  12. Client asked if I was "familiar with what is needed to create the CDL". I'm not sure what the acronym stands for and don't want to take the job until I have a better grasp. Can anyone help me out?
  13. Client asked if I am "familiar with what is needed to create the CDL". Not exactly sure what that means. Does anyone have a clue?
  14. It seems I can no longer do this and I'm really not sure why... The button is greyed out. Anyone else experiencing this problem or know how to fix it? Currently running OS X 10.10.5.
  15. Hi you all! I just wanted to inform you that according to my tests the Double Data 's manual verification mode DOES NOT WORK AT ALL in the 1.2.1 (current version) of the software. I did not find this info easily from the web so I thought I should share it in case some users are not aware of this problem. This is just for the "Data Manage" ----> "Verify..." -function and does not affect normal transfers. It can cause you trouble however because the software does not read checksums correctly in this mode because of the bug and may show that the files are OK even if you alter them or remove all of them and just leave the first text file in place which contains the checksums from the original camera media. Because of the bug, the software actually copies checksum data from this file and adds a new text file containing these checksums which it is thinking is the checksum data of the verified files. So, if you look manually through the checksum text files they seem to be OK although they have nothing to do with the new verification round. So, it basically falsifies the checksum data in this manual verification mode and green lights all the files no matter if they are altered or not or even are in the same folder anymore. I contacted the manufacturer and they don't have any bug fix release yet but they are aware of the problem and are working on it, so it is best to not use the manual verification (Data Manage -->Verify... -function) at all with this software until they get a fixed version out. As I said, the bug does not affect any normal transfers from camera card to storage, and is only in the additional manual verification which can be used afterwards if needed. You can also trust the checksum files which the program creates during normal verified transfers.
  16. This is a transmitter and receiver that was designed to make the hard wired iris control from Preston into a wireless system. The unit for sale includes the (hard wired) iris control hand unit from Preston, the cradle that connects the iris control to the transmitter and battery, the receiver, and a Heden M26VE motor. Sale also includes (motor and power) cables, battery for the transmitter, and a battery charger. (additional blank iris disk included) This unit (receiver) is wired the same as the Preston and so will drive a Preston motor with the standard Preston cable. I used this system with a Preston 3 motor system. The focus and zoom were plugged into the standard MDR and the Iris was plugged into the small receiver. The design of the cradle allows the hand unit to sit upright without additional brackets. This unit can be used to drive any of the gears of the lens - so it could also be used as a remote focus device. ****Update**** Some people have asked if I would sell it without the motor. Yes - willing to sell without the motor. PM me if you are interested.
  17. Hi everybody, I'm trying to really get the difference between RGB and YCbCR. The problem is that I cannot find a consistent answer to this question. From what I know they are both signals. I know that RGB is always a 4:4:4 signal while YCbCr can be subsapled in different ways. I also know that YCbCr is originated by the RGB because this last signak is redundant so (what does ut exactly mean?). I also would like to know the difference between a 4:4:4 RGB and a 4:4:4 YCbCr, don't they both have the maximum chroma and luminance sampling possible? Thanks so much!
  18. Hi everybody, I'm still a student and I've never connected a camera to a monitor through a wireless device (I know really common one is the teradek beam). I've tried to look for tutorial but nothing valuable came out. I'll be on a shoot next week that is gonna use ione and I'd like to be prepared so I'm asking for help out here. Another thing I'd like to know is how the wireless follow focus would be connectd to a camera. I also ran into terms like decoder and encoder and I'm looking for an understandable answer to what the difference is. Thanks so much for your help!
  19. I'm wondering if anyone knows of software like Shotput that runs well on a PC? I just tried their PC v4 demo and man it is super slow! Also comes up with numerous errors and mismatched MD5's that are actually perfect when checked with other MD5 software.
  20. It looks absolutely awesome... but it's a bit pricey. I'm wanting to add a few extra ports to how I'm working as a data wrangler (I'm primarily an Editor) and this Echo 15 looks like it may be twisting my arm. However, the price tag had me searching for other solutions. I found one other dock that had USB 3.0, eSATA, Thunderbolt & FW. That was the Akito Thunderbolt Dock (with a couple less USB 3.0) and there's not much in the price difference. If I was to chose from these two the winner would be the Sonnet for sure. I thought about it and tried searching a little more... keeping in mind that I still own an Echo ExpressCard Pro, which connects via Thunderbolt. I use this mainly with an eSATA adapter. I tried to find a cheaper solution (we're all about saving money and we know it!) and I found this... the Elgato Thunderbolt Dock. It has 2 Thunderbolt ports, 3 USB 3.0, HDMI, Ethernet and it's less than half of the price. I know it doesn't have eSATA but... I have a question (at last, I got to the point!): If I connect my Echo ExpressCard into the spare Thunderbolt port of the Elgato (thus giving me eSATA connectivity) will transfer speeds be massively different compared to the Express 15? or does adding that ExpressCard screw things up a little? Overall, my suggested solution won't be a tidy little box like the Echo 15 is but it should be a cheaper alternative right? Am I being naive or should I just shut up, bite the bullet and get an Echo 15? Any help or insight would be great. Help a newbie out... Thanks guys. Links: SONNET http://www.sonnettech.com/product/echo15prothunderboltdock.html AKITO http://www.amazon.co.uk/Akitio-Thunderbolt-Computer-Docking-Multilink/dp/B00INMUTUS/ref=sr_1_2?ie=UTF8&qid=1409246154&sr=8-2&keywords=Akitio+Thunder+Dock ELGATO http://www.amazon.co.uk/Elgato-Thunderbolt-Dock-Apple-MacBook/dp/B00HWR3XGW ECHO EXPRESSCARD http://www.amazon.co.uk/Sonnet-Echo-ExpressCard-Thunderbolt-Adapter/dp/B0080MQJJ6/ref=sr_1_1?s=computers&ie=UTF8&qid=1409249810&sr=1-1&keywords=echo+expresscard
  21. International Cinematographers Guild to Field Workflow Panel at Cine Gear Los Angeles, June 3, 2014…The International Cinematographers Guild (ICG, IATSE Local 600) is producing a panel discussion on “New Workflow Choices and the Director of Photography” at the 2014 Cine Gear Expo in the Sherry Lansing Theatre on the Paramount Pictures lot this Saturday, June 7, from 10:15 to 11:30. The panelists are Paul Cameron, ASC, Director of Photography (Total Recall, Dead Man Down), Mark Doering-Powell, Director of Photography (ABC’s Super Fun Night; CW’s Everybody Hates Chris), Steven Poster, ASC, Director of Photography, National President, ICG (Donnie Darko; Someone to Watch Over Me), Andrew Turman, Director of Photography (Target, Lexus), Michele deLorimier, Digital Imaging Technician ( DIT) & Phantom Tech (Cover Girl’s Pink; Cream Reunion at the Royal Albert Hall), Bobby Maruvada, Digital Imaging Technician (DI colorist Project X, After Earth) and E. Gunnar Mortensen, Focus Puller (Amityville Horror: Locked In, Cooties). Digital Imaging Technician Joshua Gollish (Skyfall, Prisoners) will moderate. The panel will discuss how Directors of Photography and their crews encounter an ever-expanding range of approaches to color management and dailies. These new paths profoundly impact the DP’s artistic style and every aspect of their job, including on-set operations and creative environment and communication with the director, talent, editorial and postproduction. This group of leading DPs and other camera crew members will examine how their workflow choices on recent, high profile motion picture and TV projects impacted the filmmaking process, the craft and the product. http://www.cinegearexpo.com/83/ Press Contact: Rick Markovitz Weissman/Markovitz Communications rick@publicity4all.com 818-760-8995
  22. Hi, I'm primarily an Editor dabbling in motion graphics. I'm wanting more on-set work and have been offered the opportunity to do some AC and data wrangling on a local short in Leeds. I'll be using a MacBook Pro 15" (late 2011) 2.5GHz Intel Core i7, 16 GB RAM. Shooting RED scarlet and backing up on two G-DRIVE's - Yet to have confrimation whether or not the drives have eSATA. As my mac has one FireWire 800 port and one Thunderbolt, I'll be running into some problems on the way in working out how fast I can transfer data on the budget I have. I've heard and read of the problems of trying to daisy chain two FW800 drives and a RED station, all through one little FW port. I've also read a lot of positive things about the Sonnet Echo Pro Thunderbolt adapter. http://www.sonnettech.com/product/echoexpresscard34thunderbolt.html I'm hoping to get the eSATA extension, but if the G-DRIVE's are not compatible the FW800 will do for now. For £250 I'm wondering if this is the best option I have for transferring data as quickly as possible, while linking two G-DRIVE's through one eSATA and using the second eSATA for the RED station? Thank you. Luke Wheldon.
  23. Hi everyone! I'd like to ask what you think about the following, If you were to shoot a multicam television show in 4K to future proof it for the coming UHD technology and broadcast specs.... what would you shoot it with? I was looking at the pros and cons of renting either RED Epic, RED Scarlet, Sony F55 CineAlta, and the Panasonic 4K Varicam. How would you keep cost low as possible while maintaining a smooth workflow for a 3 unit camera setup? And what would you do differently for a talk show as opposed to a reality show? For a talk show, I've been told 60fps in HD is the normal recording format to give a live feel, I was under the impression that was the case only because many television cameras captured frames interlaces and not progressive? So considering most of these 4K cameras (I think) capture progressive, would 60fps still be needed? And to wrap this up with a final question, how would you both stream each of the 3 4K feeds to a switch as well as record all 3 stream individually? While keeping costs as low as possible. Sorry for all the questions, it's just it's a new frontier and I haven't found a whole lot published about this.
  24. Brand new G Technology Drive for sale. This was an unwanted prize so hopefully it can go to a good home here! Brand new, complete in box, never used. http://www.ebay.co.uk/itm/131064346083?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 Perfect for DIT
  25. Hello! Here is my long overdue new reel as a cinematographer, "junior" DIT and colorist. I hope you'll enjoy it: www.guillaumecottin.com/reel Do not hesitate to comment, I would love to have feedback and constructive criticism from experienced people. For jobs / availability or any other question, please email me at: guillaume@guillaumecottin.com Thanks! :-) G.C.
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