Jump to content

Cameras


Recommended Posts

This is our first new forum section in many years. The hope is that this categorization will provide a place for discussions specifically about the cameras we all work with. Not restricted to the RED camera (though I am sure discussions of that particular camera and all its variations will continue for some time).

Link to comment
Share on other sites

I have done only one feature "film" (I am going to try and just use the word "movie") which was NOT film. That was "Horrible Bosses" which was shot using the Panavision Genesis camera. Up until about 5 years ago, I hadn't even needed to use a timecode slate on a feature movie production. I know the days are numbered but so far for me, only the one digital movie.

Link to comment
Share on other sites

In my corner of the LA commercial market I have only seen the Alexa this year. I was doing 60/40 film to HD in the last 2 years, but this year it has been 75/25 film to HD. In the last 40 shoot days in Aug n Sept it has been 37 days film to 3 days Alexa. Next week is 3 days film n 3 days Alexa. I think camera rental houses are discounting film cameras enough to make them an option again for production. Hard to say what is at play. It could just be random luck.

CrewC

Link to comment
Share on other sites

currently assisting on a 3D feature, down-under.

2 x red epic bodies per/3ality mirror-rig

2 rigs on-set (A-cam/B-cam), with fans so loud that you can't fully isolate sound issues until the cameras are rolling.

no late rolls, or early cuts for the 2nd camera. thankfully cam dept are nice with this issue

additional problems that I hadn't anticipated:

- so many monitors and DIT/3D stations required to be "close" to set - again, the crew are super-nice and understanding when they need to be bumped a little farther away... but it's allot of additional computers/monitors/UPS with allot of additional fans that don't shut down when rolling...

- Mega-delay on the Video-split... as Vid-split are providing 3D playback and monitoring for Director/producers/etc, the delay in processing the "live" image is quite big (1/2 second?), Vid split are providing the delayed audio-feed for directors headphones to match the monitor (easier for "live"/playback situations).

anyone on-set with IFB/comtek NEEDS an isolating headset, and must turn the comtek down if removing headphones (director has already been caught a few times, shrugging off one ear, running-in to direct, and causing a massive echo). Off-set viewers must be far enough away that their cans don't bleed into the on-set mics.

even with all the negatives - whoa, you've gotta see the pretty pictures! it's utterly amazing, and hopefully worth the extra work.

as for film/video in my world, last time I worked film was early last year on a Telemovie (super 16mm) since then it's been HD tape, RED one, Genesis, and RED one (MX).

Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

×
×
  • Create New...