Jump to content

Search the Community

Showing results for tags 'hd'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • News & Press Releases
    • Lighting
    • Camera Operating
    • AC's & DIT's
    • Grip & Rigging
    • Visual Effects Cinematography
    • Grading, DI and Telecine
    • Students and New Filmmakers
    • Cameras Systems and Formats
    • Lenses & Lens Accessories
    • Camera Accessories & Tools
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • In Production
    • On Screen
    • Cine Marketplace
    • Business Practices
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Regional Cinematography Groups
  • Not Cinematography
    • Producing
    • Directing
    • Sound
    • Editing
    • Off-Topic
    • Forum Support

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Website URL


Skype


Location


My Gear


Specialties

Found 33 results

  1. Hey everyone, This might be a question that exposes my ignorance, but recently I was asked if I could grade a 30 minute documentary for someone. I happen to do a lot of color correction for my job as well as just for fun when I want to mess around in Resolve, so I was confident that I could do what the director was asking for (she said she wants it to look true to life, so mostly just primary corrections it sounds like). Then she told me that the footage was V-Log 4K shot on the Panasonic EVA1 and asked if I have a 4K monitor, which I don't. What I do have is an IPS 1920x1200 monitor, specifically a ProArt ASUS PA248Q, and a ColorMunki. I have graded C100, FS5ii, GH4, and even downscaled RED footage on this monitor with good results, but because she specifically asked if my monitor is 4K, I'm beginning to wonder if maybe my monitor wouldn't be accurate enough for her project. As far as I know, the only problems I would have are judging sharpness and noise, but as far as color goes it should be fairly accurate regardless of my monitor's resolution as long as I calibrate properly, right? Or is there something I'm missing here? I'd love to help with her project, but I also don't want to waste her time. What do you guys think?
  2. ARRI AMIRA CAMERA PACKAGE INCLUDES: AMIRA CAMERA BODY WITH PREMIUM LICENSE - 980 HOURS MVF-1 ELECTRONIC VIEWFINDER GOLD MOUNT BATTERY PLATE PL LDS LENS MOUNT BPA-3 AMIRA BRIDGEPLATE VIEWFINDER EXTENSION BRACKET VEB-3 MHB-2 MIC ADAPTER BRACKET KC-50 AMIRA POWER CABLE SHORT AMIRA VIEWFINDER CABLE LONG AMIRA VIEWFINDER CABLE CFAST2 MEDIA CFAST2 CARD READER USB 3.0 AMIRA USB STICK ENTIRE PACKAGE COMES IN PELICAN CASE WITH CUSTOM AMIRA CUTOUT asking $35K US or best offer. see a website with pictures here: jonstaav.com/amira camera based in TORONTO but i brought it with me to LA until FEB11 for a show and have the camera with me if anyone wants to see it. contact me at [hello@jonstaav.com] -jonathan staav DP/TORONTO
  3. juan

    Monitors

    Hi all, I'm looking foward to buy a new monitor to take with me on set. wich brand and model would you recomend. thanks for reading and comenting. J.
  4. Sony PDW-F800 XDCAM HD422 Camera Kit for sale Including all 3 Optional Boards: - Sony CBKHD01 HD/SD-SDI optional board (allows to record either HD/SD SDI signals with embedded audio) - CBK-SC02 Analog Composite Input Option Board - CBKZUPG01 WiFi Option - Including (10) Optional Accessories: - Sony HDVF-20A 2" B/W Viewfinder - Panasonic AJ-MC900G StereoMirophone - Anton Bauer Gold Mount Adapter (with Tap) - Sony Tripod Plate VCT-14 - LitePanels Croma on board camera lighting (with dimming) - Porta Brace Camera Rain Cover - Sony LC424TH ATA Thermodyne shipping Case - Sony Original Manual - 15mm Chrosziel type lightweight support mount with Rods / Clamp - Dual Hot Shoe Extension Bar Laser: 1197 (Sony Optical Disc products have 7 years “Powertrain” Warranty) Only $6,995! Camera available for inspection in NY.
  5. Ladies/gents, I just built an editing computer for 4K editing. These monitors were used on the rig I am replacing. Excellent condition. No damage. No screen burn-in. No stuck pixels. Paperwork, OEM power adapters included for the monitors. Local pickup in the Los Angeles Area. Ping me for any questions. $100.00 USD per monitor. I will sell all three for a discount if interested. Link below should go to a folder with more images. https://goo.gl/photos/AdrAQkMZBTjYqux38
  6. How exactly is the 1080p achieved in this camera? Is it downscaled in camera from the 4k like a hardware downscale? Or is it some complicated in camera magic happening?
  7. I have some questions about how Blu-ray Disc video differs from VOD available on various streaming services. What are the main differences between a Blu-ray video and a video from any of the streaming-services ones? What changes the most? Is it the amount of colours? Is contrast lower? How much less sharp are the streaming videos? Do the same differences apply whether it be 1080p HD content vs. Blu-ray or the 4K UHD Blu-rays and UHD streaming? Are there any differences in quality between various streaming services? Is the same film on, for example, Amazon Video in the same format and of the same quality as it is on Netflix? Are the codecs used by various streaming Web sites the same? For example, I see that Vimeo, YouTube, and iTunes Store use H.264. If both a Blu-ray Disc and a streaming service use H.264, why is streaming video of lower quality? I presume it’s because of the compression scheme. Are the compression schemes all the same on various VOD Web sites? So a single-layer Blu-ray Disc can contain up to 25 GB of data and the dual-layer one 50. If you were the download a 1080p streaming video, how much storage would it occupy? Is the problem with the difference in quality a problem of internet speeds or does it lie somewhere else? A Blu-ray Disc can have a bitrate of up to 40 Mbps. What are the bitrate of streaming services? What kind of speeds will you need for uninterrupted, smooth streaming of 4K UHD video? Or, more generally, how do you calculate the speed needed for a content with a particular resolotion, given that this will change a lot in the future? Will we eventually have even the true Blu-ray Disc audio experience in streaming, too? Will streaming services eventually replace Blu-ray Discs and what are some of the things that need to happen for that to occur? I forgot a lot of what I was going to ask, and one thread got lost when I accidentally shut down my browser, but I think I’ve managed to recover the gist of what I was going for.
  8. 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#
  9. I have a mint condition Blackmagic Pocket Cinema Camera and Blackmagic Pocket Camera to Nikon G Speedbooster with Accessories kit for sale. Very lightly used in mint condition with 4x batteries +charger and 4x 64gb Sandisk Extreme Pro 95mb/s SDXC Cards. $1150.00 paypal + 3% paypal fee. Free shipping within lower 48 continental US States. Please send serious inquiries to mrak1979@yahoo.com. Thanks
  10. On RealityKings' website they have a site called Street********. I would like to know, what camera is used in these scenes? I'll post some images from different scenes, (non-pornographic) and wonder what you guys think. I think they're handheld cameras, but that's all I think.
  11. Selling one of my three Paralinx Arrow-X Receivers. Can be matched to any Paralinx Arrow-X transmitter (up to four receivers). Includes an AB female plate, and metal support plate. Two 3G SDI outputs. Barely used. Normally retails new for $2,700 plus tax/shipping. Serial numbers shown in pics. Selling for $2,000 USD plus shipping. Please contact by email: markusmentzer@gmail.com The Paralinx Arrow-X System is a revolutionary HD Video Transmission system offering Realtime Wireless HD with robust long range for your Television, Film, Broadcast, Industrial or UAV/UAS application.The Paralinx Arrow-X transmits full-HD 1080p/60 with a range of up to 700 feet (215m) with default antennas (longer range possible with optional antennas) and still maintains an incredible sub 1ms latency glass-to-glass. The Arrow-X receiver features 2-Pin Lemo power connectors capable of a wide 7-17V unregulated input voltage and dual 3G-SDI video outputs. Much like the popular Paralinx Tomahawk, the Arrow-X transmits Full-HD video (up to 1080p/60 4:2:2) with less than 1 millisecond delay and is capable of handling up to 4 simultaneous receivers. The receiver weighs 12 oz/340g (without antennas). Arrow-X receivers can be purchased for MSRP US$2,499.95 each. Battery plate, antenna, mounting, power cable, and case options are available as accessories. Arrow-X Receiver Features: Lightweight Minimalist design for reduced payload Dual 3G-SDI outputs Rugged ABS enclosure Long-range transmission - Up to 700 feet (215 meters) * REAL-TIME viewing - Less than 1 millisecond latency Uncompressed full-HD video signal allow critically accurate monitoring Multicast capable (up to 4 receivers per transmitter) 128 bit AES Encryption - Secure transmission Operates on 5gHz frequency band Conforms to major technical and environmental standards including FCC, CE, MIC (TELEC) and RoHS Specifications * Range may vary depending on environment and interference Dimensions (US): 5" x 5.6" x 1.3" (not including antennas) Dimensions (EU): 143mm x 128mm x 33mm Weight: 12oz / 340g (without antennas)
  12. Film stock kodak 7203 50D. Processed and scanned to a 4K Log by Pro8mm. This film has been downres to 1080p for Vimeo purposes. It has not been edited or processed in any form other than the color change to B&W, the sound is the wild production track with no processing. This sound test was performed in a single take using double system, the Logmar Super 8 film camera and the Sennheiser MKH 416 directional shotgun microphone. The audio was recorded with the Tascam DR-70 Linear PCM recorder. https://vimeo.com/136780122 Enjoy, MOY
  13. Hello. I have been making short movies all my life. Went to Pittsburgh filmmakers and shot a couple 3 min long films in 16mm. In 2007 I bought a canon hv20. It's a hdv camcorder that takes the old, small tapes. Anyway, here's my thoughts. The 16mm film I did (the one that turned out well and not grossly overexposed) looked phenomenal to my eyes. I''d/I've never done anything else that looked that good. It was done on Kodak 16mm color neg 200t. I used a bolex from school with ordinary, non zoom lenses. So, ff to 2007. When I took a few videos with hv20, I was floored by the quality. I compared it to the 16mm film I did. The 16mm still looked better, and handled colors better. However, with the hv20, after tinkering with it a while , I've gotten COMPLETELY mixed results. I've learned that if you're shooting on video, everything has to be PERFECT to get the same quality every time. It's almost as if the stars have to be right to remain consistent. I mean, I have lit it well and it looks like crap, and I've lit it poorly and it looks great. Vice-versa. I just got back some 16mm b and w reversal I shot with a bolex. Looks good. however, after comparing it to a few of my "good days" footage with the hv20 (b&w in post), the hv20 clearly stands out. So now I'm shaking my head, confused more than ever. The HDV tapes are exceedingly cheaper than film and do produce excellent image quality... if everything is done absolutely perfect every time. How do I do this? I just don't know what I'm doing wrong to get some things looks great and some things that look like a 1980s videocam.
  14. I have a Alexa EV with 1841hr for sale. Asking $38000 firm. I have pictures I can email you. This is what is included in the package. 1 x Arri Alexa Camera w/ SxS Module - High Speed 4 x SxS 32GB Cards 1 x SxS Card Reader w/ AC Adapter and USB Cable 1 x Alexa Accessory Cable 12V (ARRI KC 154-SP-S) 1 x XLR 5-Pin Audio Out - L/R Channel 3-Pin Spliter 1 x 2ft Spiral Cord 3-Pin XLR Male to 3-Pin XLR Female 1 x Alexa Ethernet Cable 10ft (AEA-1) 1 x Alexa Viewfinder Interface Cable (Short) 1 x Alexa Viewfinder Interface Cable (Medium) 1 x Alexa Base Plate (BP-13) - 15mm (also have BP-12) 1 x Alexa Port Cap 1 x Arri Alexa Electronic Viewfinder (EVF-1) 1 x Alexa EVF Mounting Bracket 1 x Alexa Center Camera Handle (CCH-1) 1 x Alexa Handle Extension Block w/ Tape Hook (HEB-2) 1 x Alexa Battery Adapter Back for V Mount (BAB-V) 1 x Alexa Base Plate Adapter (BPA-1) 1 x Leveling Block (LB-1) 1 x Shoulder Pad (SP-3) 1 x Alexa EVF Extension Bracket 1 x 12in Dovetail
  15. I have a clean, well maintained, ready to shoot Sony PMW-EX3 Pro HD camera for sale with a few extras. It's an excellent run and gun camera that is inexpensive to operate. The Sony pop on batteries are inexpensive, light and efficient compared to bricks. I've used inexpensive fast SD cards with the included SxS to SD card adapters and they work great. A 16GB card holds about 50 min. at full 1080p and costs only $17 at B&H. You can use Nikon, or other lenses, with a Nikon to Sony mount adapter, or use the included Sony power zoom which is plenty good to get work done. I am the sole owner/operator. I've never rented it, nor let anyone else touch or even breathe on it. :) $2800 See photos and more details at http://www.prairiepictures.com/gear.html Thanks! Martin
  16. Hawaii based production company and rental facility: Complete camera, grip, electric, and expendables. Alexa, Epic, Canon, Sony HD camera systems. Pro lenses & accs. ARRI, Mole, Kino. K5600, Dedo, Lite Panels - HMI, Incandescent, Flourescent and LED lighting. 1 Ton, 4 Ton, 5 ton G&E Pre-loaded trucks. Generators/Distribution. Fisher Dollies, sliders, cranes. Experienced union and non union crews. http://www.sightandsoundhawaii.com Bill Maheras Sight & Sound Studios, LLC 66 Queen Street, Suite 1705 Honolulu, HI 96813 ofc. 808-599-7600 FAX 808-599-7601 cell 808-754-0080
  17. Hello fellow cinematographers and film makers! If I could borrow 3,750 frames at 24fps of your time to review my new reel. It would mean a great deal to me if you could offer some critique afterward. I'm in the middle of a huge push to take my work and career to greater quality and new opportunities. Any feedback would be greatly appreciated. I would be happy to return the favor. Thank you and happy shooting! Alex www.alexfuerst.com
  18. Hey everyone, I'm looking into the whole shooting on 35 mm 2 perf thing right now for my first "professional" short movie, and what scared me mostly about 35 mm was not being able to really see what's being shot other than on a shitty quality video tap or assist, but I read here the other day someone talking about using an HD monitor and feed it the composite signal from the camera and having a much better quality, is this really possible? I read otherwise about the HD IVS by Arri but it seems ridiculously pricey, otherwise, it seems like the Penelope has actually a pretty decent, much better video feed, what do you guys think? Love this forum by the way, so many resources !
  19. 2 more cameras from Blackmagic! The Blackmagic Studio HD and The Blackmagic Studio 4K cameras: Heres my article on it here: http://www.redsharknews.com/production/item/1594-blackmagic-release-studio-cameras Freya
  20. Hi Folks, I didn't go to film school. Most of my training came from internships in middle and high school (also my family was in local television) and those connections worked into jobs when I got out of school, so I'm not familiar with the film school scene, in fact, many of my mentors in the business advised me that unless I had a lot of money and could afford UCLA (this was 1978, by the way) or something equivalent, not to waste time and money on film school, especially since I had already had a good bit of hands on training during my volunteer work. It worked out for me pretty well , but that was a different time.Throughout the years I've done some consulting and community college level teaching, but never on a film school level until a year and half ago when I taught a cinematography class for the New York Film Academy in Celebration, Florida. I had a blast, great students and I got to work with some high caliber folks and for me the coolest part was I got to work with Arri S 16mm cameras that I thought I would never see beyond a museum again. Tri X Reversal, it brought back memories of high school football games and early 60's newsreels, my childhood and early adulthood.After reading up on NYFA both pro and con, I got the impression that many were questioning the wisdom of teaching students on an "old clunker" when the big guys are shooting with RED's and Alexa's. Fair enough, but you have to remember, this level of student, high school or early college is not going to start out with one of those anymore than I did with a Arri SR or Aaton Prod.You also have to take into consideration the number of students that aren't interested in becoming cinematographers. About two thirds of my students were wanting to be actors, directors and producers and they certainly weren't going to take it to the Panavision level. So here are the options for this level of student that I see. HD Prosumer or DSLR: I would lean toward either DSLR or perhaps some of what Black Magic is offering. This is where I have to criticize NYFA on their choice of the Panasonic prosumer grade cameras they use. Great cameras, but they're ENG and no matter how much you play with camera tape markings on the lens barrel,it's still not a proper lens for that. I offered the students the option of using that or the MF numbers on the monitor, as most AC's I've seen these days follow the cam op via a small flat screen monitor.Now DSLR's are great, but here again, they're not designed for a Hollywood type film crew operation unless you spend a good deal of cash on camera cages and follow focus attachments. This would be economically impractical in this type of situation, I could imagine the nightmare of trying to keep up with that many DSLR kits students were sent out with on the Disney backlot. High school students and even the adults in that type of situation need to keep the number of items in the field small,and the many pieces of tinker toy type stuff that goes with DSLR's would be a nightmare to contend with. Then you have super 8 and 16mm. I love super 8 and I could see it being used on a basic "primer" type of project, but beyond the avant garde scene, yuppie weddings and a certain type of look, its not really such a good training format either,It's best reserved, in my opinion for the "intimate" hand held, home movie or retro doc look, which is exactly what we're seeing the industry currently using it for. Then you have the old stand by, tried and true 16mm "clunkers". I love these things, they're my classic muscle cars, what I cut my teeth on, but it disturbed me to see so much precious film footage being wasted on exposure tests and workshops.Moreover , such a volume of labwork was a nightmare for scheduling projects, These days, especially for a film student on a budget, 16mm film stock is like oil and seeing it used like that is almost like driving a Hummer to the corner store. Check out this video:http://www.youtube.com/watch?v=SYADhAZsPNA Now let's say a film school has a fleet of "old clunkers". They're still good for training the basics on, but if,say you converted half of the fleet to a digital hybrid, the student could learn basic composition,exposure, work flow and camera crew operation and once they've mastered that, then they can move on to shooting their projects with real film cameras, if that's the direction, if not, they will still be prepared for the film type work flow that is currently standard procedure in the industry, rather than pick up bad habits from being trained on an ENG camera. P and S Teknik is already doing this with Arri 16 SR 3's, offering a digital mag and as I understand someone else is working on a digital super 8 cartridge. What are your opinions on this? Marty Hamrick Semi retired cameraman Oshawa, Ontario
  21. Hi, Been a lurker many years but need some advice on lighting fixtures. We have a Phantom HD Gold in our studio which lives in there all the time. Up until now we've been using a mixture of Kino, Dedo and Colortran fresnels to light scenes using different phases in the studio to negate flicker with the tungsten. Most of the stuff we do is small table top stuff but we now want to be able to light our entire studio cove (5 metres high 10 metres across) and have some money to achieve this. When we've had bigger shoots, lights have always been hired in on a job specific basis. We have a single 32 amp socket with appropriate connector and 3 dimmer banks orated at 40 amps each running 16 amp connectors with DMX control. I have about £15k to spend and have been looking at getting up to around 6-8k with possibly a single 4k key on the dedicated 32amp socket and then maybe 2-3 additional 2k's on the other connections. I've been looking at Arri D40's and M18's with HMI/Ballast but wanted peoples thoughts on what might be a better more economical route giving us the most for our money and maybe taking in current LED technology. We were also looking at a new Dedo which was touted as around 2k output but doesn't appear to have been released yet. Not sure of the model name but saw it at a trade show some months back. Any input or suggestions appreciated.
  22. Hi everyone, in few days I'm gonna show my short film to a commission for my graduation... now, until now I just worked on my laptop, never tried to see the result on TV, but as soon as I did it... I really freaked out! watching the film on my laptop, everything is good: high quality definition, bluish and desaturated look which is exactly what I wanted to achieve, no digital noise... when I saw it on TV, it was yellowish and very saturated, really bad definition with a LOT of digital noise... I don't really know what to do, my school career will be probably influenced by this project... can someone help with that? do you think I'm doing something wrong linking the PC to the TV, or is it normal all that noise?? I used a RGB cable to link the PC to the TV, and I'm using premiere pro cs6 to edit... is there something I can do in the export settings to have a really good HD product once it is shown on TV, or on a big screen? Please help, I will be really grateful for any kind of answer :(
  23. go to link below for T. Anthony Gharzouzi's Demo reel http://tarekimages.com/reel.html
  24. http://www.youtube.com/watch?v=BfZLhG-hm5o ^ Click to watch lana del rey - blue jeans
  25. http://tarekimages.com/reel.html short demo reel in link above thanks, T.
×
×
  • Create New...