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QuickHitRecord

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  1. QuickHitRecord
    The slider base from here: http://www.lockcircle.com/matbox/buy/ And a set of "nuns knickers" like this: Would probably get you most of the way there.
  2. QuickHitRecord
    Yes, that would be the field of view (horizontally). However, this can actually change slightly if you have a lens that breathes. For instance, a close up shot might offer a true 2x stretch, but focusing to infinity with the same lens may give you a 1.7x stretch or a 1.8x stretch, and that can affect your final field of view. But this formula is good for a ballpark number. If you are using a camera with a 2x crop sensor, then yes. GH3 and 2x lenses are always the easiest to calculate.
  3. QuickHitRecord
    (Lens focal length x Sensor crop factor) / Anamorphic stretch factor
  4. QuickHitRecord
    Try this: Then rename.
  5. QuickHitRecord
    Looks great, Tito. I haven't seen the Foton used in a modern narrative piece before and it really shines. What a wonderful location you have there. I am curious to see what happens next!
  6. QuickHitRecord
    It appears that I was wrong.
  7. QuickHitRecord
    They don't officially support the DP6 anymore (it has been replaced by the AC7), so I'd be surprised if there was additional firmware on the way. But good luck!
  8. QuickHitRecord
    Not having to worry about rainbow moire on the 5D, and the prospect of higher resale value were the big ones for me. The more that I delve into Magic Lantern, the more that I'm impressed. It is nice to have choices.
  9. QuickHitRecord
    4:3 Recording Times (5DMiii; 64GB 1000x card)  1920x1288 > 98.9MB/s > About 10 minutes* 1600x1200 > 76.8MB/s > About 13 minutes 1472x1104 > 65MB/s > About 15 minutes 1344x1008 > 54.2MB/s > About 18 minutes 1280x960 > 49.1MB/s > About 20 minutes *I can record for about 30 seconds, but I can't get RawMagic to recognize files shot at this resolution.
  10. QuickHitRecord
    I don't think that they appear for sale often enough to have an understood price point. But probably.
  11. QuickHitRecord
    Look at the SmallHD DP7 (which is expensive), and possibly the Convergent Design Odyssey7Q (also pricey).
  12. QuickHitRecord
    Unfortunately, the Ikan does not have anamorphic monitoring or custom aspect ratios. Also, Ikan doesn't seem to ever offer firmware updates.
  13. QuickHitRecord
    Monitoring in 2x on the AC7 while shooting with a 2x anamorphic lens (1344x1008 source; stretches to 2688x1008): Start with a 2.35:1 aspect ratio, then input: HSTART: 110 HSIZE: 500 VSTART: 1710 VSIZE: 500 *This was a bit roughed in. I am seeing a little more on the top and bottom than I am recording (8 or 9 pixels above and below my final image).
  14. QuickHitRecord
    This is great. It looks like it covers all of the bases in terms of 1920x1080 and lower resolutions, which is all most anamorphic/SmallHD users will need. I had no idea of the existence of this document. Thanks for sharing it! Now we can start talking about stretching in-camera 4:3 from the ML Canon DSLRs to anamorphic ratios. ;)
  15. QuickHitRecord
    I'll go first. Monitoring in 1.5x on the DP4 while shooting with a 2x anamorphic lens (standard 1920x1080 source): Start with 2.35:1 aspect ratio, then input: HSTART: 706 HSIZE: 94 VSTART: 500 VSIZE: 600
  16. QuickHitRecord
    We are already discussing monitors that allow for proper anamorphic monitoring here: http://www.eoshd.com/comments/topic/1832-monitors-for-2x-and-15x-stretch-preview/ But I thought that it would be useful to have one thread where we all share our Custom Scale settings for anamorphic monitoring (especially since Magic Lantern has brought back 4:3 shooting in raw mode at assorted resolutions). For those unfamiliar with this feature, the best description that I have found is in the manual for the old DP1: http://www.eoshd.com/comments/uploads/gallery/album_14/gallery_18451_14_22383.png
  17. QuickHitRecord
    I have Pelican cases for each camera kit that I have and for my prime set, and a perfect by mysteriously unbranded rolling plastic bin for my lights, stands, and grip gear that I bought from someone on Craigslist (though honestly I keep the lights built for easy access most of the time). I have some cheap Ikea drawers where I keep all of my production-related odds and ends -- one drawer that is fitted with an airtight plastic bin for additional lenses, one drawer for step rings and adapters, one drawer for rig hardware. Slider, jib and tripods live in their original cases.
  18. QuickHitRecord
    Thanks, everybody.
  19. QuickHitRecord
    I am trying to get in the habit of exposing to the right with my 5D Mark III raw footage. But how far to the right?   Below is a contact sheet made up of screen grabs I've taken in Resolve from untouched DNGs. I set the exposure for the first image using the false color function on my SmallHD monitor (which works great for exposing H264/AVCHD footage, but here it actually looks quite underexposed) and then I upped the exposure in one stop increments.   I am hoping that someone more experienced with raw footage than I can give me an idea of which of these would contain the most recoverable data (click to enlarge image):
  20. QuickHitRecord
    I'm just floored that Canon have made one of the most accessible cinema cameras out there -- and they weren't even trying.
  21. QuickHitRecord
    Monitoring seems to be the same from what I have seen. There are white guide boxes that appear as overlays with ML raw unfortunately. I have not been able to turn them off. Unfortunately audio cannot be recorded alongside raw vide at present. Proxy generation time will depend on your computer. I recently exported 51 minutes of 1080P footage on my 2013 iMac. I walked away and wasn't timing it, but I think that it took between one and two hours. Letting it run overnight should be plenty of time.
  22. QuickHitRecord
    Looks great. Nice work!
  23. QuickHitRecord
      Amen!
  24. QuickHitRecord
    I find that the aspect ratio fits narrative action better and gives the characters more room to move. I was reminded of this a little while ago, before I was even shooting with anamorphic lenses, when a client came in asking for interviews shot at 4:3 rather than the usual 16:9. I used to shoot 4:3 all the time, but it was weird going back and it was difficult to frame the subjects in a way that I felt good about. Now I feel the same way shooting in 16:9 during my day job rather than 2.35:1 or 2.55:1.   I think that for most people like myself who go through the trouble of shooting with anamorphic lenses, it's less about aspect ratio and more about aesthetic. There's simply nothing else that looks quite like it (well, Rich's FlareFactory lenses do come pretty darn close but I don't think of them as anamorphic; they are something else entirely). Not everyone will be able to tell the difference between spherical footage and anamorphic footage. But for me, once I was able to spot it, I was hooked.   Also, I certainly don't mind the ability to shoot at higher resolutions while taking up less card/disk space. 
  25. QuickHitRecord
    Anamorphic cinema is timeless. It is not going anywhere.
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