QuickHitRecord

Many people find that a 2x (3.55:1) aspect ratio is just too narrow for their liking. The good news is that if you are using a 2x lens and you have a DP4 monitor, you can compose and shoot in 1.5x. This allows us to enjoy all the benefits of 2x glass (greater availability, lower prices, more dramatically stretched bokeh) with none of the headache. Here's how to do it:[list=1] [*]Choose a Preset number so that you don't have to make these adjustments every time (just scroll back to the Preset). [*]Under the [i]Advanced Menu[/i], go to [i]Scale[/i] and select [i]2.35:1[/i]. [*]Go to [i]Custom Scale[/i] and input the following values: [/list] [indent=1]HSTART: 706[/indent] [indent=1]HSIZE: 94[/indent] [indent=1]VSTART: 500[/indent] [indent=1]VSIZE: 600[/indent] Now you are set to monitor in 1.5x. I have created an Apple Compressor setting that I just drag-and-drop onto incoming footage that squeezes AND crops the footage to 1.5x before I even begin my edit. It helps keep my render time down and I don't even have to deal with the trimmed footage area if I don't want to. These values [i]may[/i] also work on the DP6, but I haven't tried it.

Workload permitting, I plan to go. I don't know if you have been before but it's not like NAB or Photokina. There's lots of emphasis on broadcast technology and media storage (though it doesn't look like BlackMagic will be there). Because it's government, I'd expect a lot of "no frills solutions". Still, it's at our doorstep and they might have a GH3 to play with.

I enjoyed it. The opening is especially strong. Where did you shoot this?

[quote name='dahlfors' timestamp='1353997395' post='22402']Anyone who have experience on those and what options are available for desqueezing aspect ratios? [/quote] Here is what I have been doing: [url="http://www.eoshd.com/comments/topic/919-smallhd-monitors-and-anamorphic-footage/page__hl__smallhd"]http://www.eoshd.com...ge__hl__smallhd[/url] [quote name='nahua' timestamp='1354000612' post='22404'] I have the 6" monitor and I did a custom horizontal width on the 2.35:1 setting. And I crop my footage (don't want super 3.55:1) to fit, so I stretch the horizontal width. [/quote] You've been able to get a 1.5x crop on a 2x distortion with the SmallHD? How did you manage that?

[quote name='chetacallahan' timestamp='1353784917' post='22253']I purchased a Lomo 35mm Oct19 2x anamorphic lens[/quote] These lenses are a monobloc design so no additional taking lens is necessary. They are beautiful lenses that are going for $4k to $6k at the moment, out of reach of most newbie crunchers (myself included). [img]http://rafcamera.com/images/mcl/35-bas10-2-01-810049.jpg[/img] Are you sure that this is what you ordered?

[quote name='tony wilson' timestamp='1353709475' post='22208'] [url="https://www.youtube.com/watch?v=Ehxyt5kNrvo"]https://www.youtube....h?v=Ehxyt5kNrvo[/url] [/quote] Day-maker!

@ 37:57 [quote] [b]Paul Genge (Host)[/b] [i]Talking about the sensor then, some comment was made about the predecessor, the GH2, and its anti aliasing and I think that again that Japan has made a great effort in trying to --[/i] [b]Tony Stott (Panasonic)[/b] [i]Yeah, we've got an anti-aliasing filter on there, and again when we get production samples I think that people will be able to see just how much progress has been made there. So less of that sort of moire effect and more seamless video recording.[/i] [b]Paul Genge (Host)[/b] [i]Don't draw too many conclusions from any footage that you may have seen online from any of these prototype, pre-production models, they're not anywhere near final yet.[/i] [b]Tony Stott (Panasonic)[/b] [i]No, absolutely not.[/i] [/quote] Interesting....

[quote name='galenb' timestamp='1353030220' post='21730'] Now that I think about it, I think most people would rather watch good acting shot of DV then bad acting shot on an Alexa. [/quote] Very, very true.

I actually prefer the look of the Apefos anamorphic. He's experimenting with different coatings so he'll be able to minimize that flare a bit.

The filmmaker arrives at the set with a large case. He opens it to reveal four or five camera pods that look something like this: [center][img]http://us.123rf.com/400wm/400/400/dacascas/dacascas1207/dacascas120700101/14636114-illustration-of-white-round-web-camera.jpg[/img][/center] Except there are three "balls" underneath allowing for autonomous, multi-axis movement. He sets these camera pods down on assorted flat surfaces: the kitchen table, the floor, a high stool, and the highest bookshelf. With a handheld device, he activates the pods, which quickly scan the surfaces they are sitting on and instantly create CAD models for reference -- the pods now "know" how far they can move without crashing to the floor. No lighting is necessary. Sixty stops of dynamic range make it a thing of the past. The filmmaker uses his handheld device to drag and drop his favorite classic DP, editor and colorist into the app, or perhaps just the titles of a few movies that he saw over the weekend into the interface. The device quickly scans each filmography or film and comes up with an algorithm of common camera settings and movements, framing choices, focusing styles, etc. As the scene begins, the operator hits a button and the pods will move about on their respective surfaces, executing these shooting styles and transmitting 80K video signals back to the handheld device where an algorithm makes real-time multicam edits and color grades for a 16K final video. After the shoot/edit/grading session, the operator is now able to scrub back through the video and make any changes to the sub-final timeline before slapping his name on it and then hitting a button and almost instantly having it posted to the web.

Thanks for sharing, Rich. How does this beast work with Resolve? A colleague who works in IT has advised me to wait until the bench scores for the new i7 iMacs come out. He says that they are CUDA-compatible and may surpass any current Hackintosh builds. But Black Friday is right around the corner...

I won't be bidding on it. I have too many already!

[quote name='Bioskop.Inc' timestamp='1352903616' post='21629'] [media]http://vimeo.com/19736579[/media] [/quote] Bioskop, is this something that you shot with the Widescreen 2000? It looks really, really good. I have only ever seen one of those lenses up on eBay.

Like many people, I am looking at getting a new computer that will work well Davinci Resolve and will reasonably future-proof as the era of 4K begins to descend upon us. As a long time Mac user, the idea of the Hackintosh is growing on me. But I'm a camera guy, not a computer guy. It has been about a decade since I've tried to customize my computer hardware and a lot has changed. A lot of this is looking pretty foreign to me. There's a pretty comprehensive guide at NoFilmSchool that was just updated last month ([url="http://nofilmschool.com/build-a-hackintosh/"]http://nofilmschool....d-a-hackintosh/[/url]), and to a computer simpleton like myself it looks great from performance and cost standpoints. But I have yet to find anyone's firsthand report on just how well this particular setup handles Resolve. Is anyone who is using this particular setup also using Resolve? For a spec comparison, here's a "recommended requirements" link from Davinci that was initially posted in response to Andrew's recent post about the BMCC: [url="http://www.blackmagicdesign.com/media/4805318/Resolve_Win_Config_Guide_2012-08-30.pdf"]http://www.blackmagi..._2012-08-30.pdf[/url]

Andrew, what are the available mounting points on the bottom of the camera? I have not been able to find this info anywhere.

Thanks for the write-up. Is this the same amusement park that was featured in Joe Wright's [i]Hanna [/i]from last year? Really cool location. The BMCC is certainly a milestone for indie filmmakers everywhere. What I am curious about is how long it will take another camera to challenge and surpass the BMCC at this price point. With the way that things have been moving lately, it doesn't seem like it would take long at all. I wouldn't be surprised if we have a new contender as soon as NAB 2013. Also, how are these soon-to-be-released iMacs going to hold up to BMCC workflow? Anyone have any insight?

The key to scoring big on eBay is flexibility, mostly in the form of patience. That has been an expensive and hard-earned takeaway for me.

I enjoyed the film. It was an interesting scenario and your actors fit the part. Here is some critique that I hope you will find to be useful: [list] [*]AUDIO: It seemed like there were some synching issues and I had some difficulty hearing the characters over the music, which I thought was too driving for the scene. [*]It looks like you were able to shoot in an actual diner, or at least you fooled me if you didn't. I thought that it was too bad that you shot it so soft. It looked like a colorful background. I would have liked to have seen more of it. At least for an establishing shot. [*]I know that you were trying to convey the passage of time by showing the art on the walls but it did not work for me. This was the part of the film that needed to show the transformation of the kid. [*]The actors were glistening! Make sure to have somebody standing by with some powder next time. [/list] I hope that this helps. Keep up the good work!

Andy -- Interesting to read Roger Deakins' take. If he's able to create the images that he does [i]without[/i] these filters, then I probably don't need them either. Thanks for sharing. Germy -- I'm getting the feeling that these may be in the category of ultra-nitpicky control filters. It's hard to be too nitpicky when you're running a GH2 like we are!

[size=4][font=arial, helvetica, sans-serif]I am trying to better understand the difference between of these filters. I have come across several resources: From Tiffen: [quote][color=#000000]Unlike many photographic films, the CCD or CMOS of a digital camera is inherently susceptible to infrared contamination, even when the manufacturer attempts to reduce this problem by adding an infrared absorbing filter on top of the image sensor. Because these filters do not have a sharp cutoff at the infrared wavelengths there has to be a compromise in order not to exclude visible red wavelengths. This results in some infrared wavelengths being allowed to pass. While minor infrared contamination does not normally cause much of a problem for visible images, when using conventional neutral density filters especially denser grades, this issue is multiplied by the filter factor[/color][/quote] From Cavision: [quote][color=windowtext]The Hot Mirror filter reduces the amount of infra-red light entering the lens while having no affect on the wavelengths of light in the visible spectrum. Digital sensors are especially sensitive to IR light, which can cause aberrations and colour shifting in the image. The hot mirror filter is especially useful when using a neutral density filter because the ND filter will increase the ratio of IR light to visible light. The Hot Mirror ND filter accomplishes both tasks in one combination filter, freeing up an extra filer stage in your matte box.[/color][/quote] Is there anyone using IR or hot mirror filters that can clarify? How significantly do these filters improve your image?[/font][/size]

I had a laugh this morning. These were listed one after another this morning. Thought I'd share: [img]http://www.eoshd.com/comments/uploads/gallery/album_14/gallery_18451_14_137851.png[/img] And as far as shooting video goes, it seems like it would be near impossible to mount this sucker!

I love the [i]idea[/i] of these filters but I have yet to see any footage that has compelled me to buy into it.

What a great opportunity. And for free! Thanks for sharing, Karim.

If only I were in London, I would love to try these out. Have you shot any more test footage?

[quote name='Germy1979' timestamp='1352488356' post='21416'] [/quote] Now that's a short video skit just [i]begging[/i] to be made.