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Found 5 results

  1. I'm a DP working out of Central America and most of my work is high-end commercials in the region. I do some eventual documentaries, music videos, short films, etc, but my bread and butter is commercial work. So far, I've been renting gear out and mostly shooting on Arri Alexa Plus and RED Epic MX. I do not own any important personal gear. There are a couple of jobs coming up and I have the opportunity to invest about $20k on a camera package. 50% of the investment would be paid off within the next 2-3 months. So far, I've been thinking about purchasing a used Arri AMIRA. I like the
  2. 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 se
  3. Odd request, but here goes: An upcoming script calls for the ability to record at least half-decent looking 720p at 24p for...3 hours straight, no cuts. One locked-off shot down a beach (powering everything is another question entirely) that has to just roll for 3 hours. This is not for timelapse: It needs to actually roll 24p for three hours continuously. What sort of camera (plus external recorder, potentially) system might you aficionados recommend for a task like this one? I have a 7D at my disposal, but I figure that won't do me much good. Probably looking at something with at lea
  4. Does anyone know what the light fixture in this image is? They were used by Roman Vasyanov on the set of Charlie Countryman. Thanks!
  5. Hi there, I am currently creating a research project for my final piece at university on the evolution of the cinema camera and how cinematographers deal with the ever changing technology. In particular the transition from 35mm celluloid to digital. I am looking for people who have worked with film stock and digital and wish to answer a set of questions I have prepared. The questions below have been sent out to various D.O.P's and also camera companies such as Arri, RED and Panasonic. During your time in the film industry, what do you believe to be the main changes in the technolog
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