I'd also like to add that anyone showing interest in learning Steadicam should contact myself or another steadicam op. We're always looking out for new people to train up.

And they still won't accept 16mm, even if it's fine grained 200T, shot on Cooke S4s, transferred at 2K and put through Arri Relativity to remove the grain and add only a touch of 35mm grain.

I get the feeling that this is more about purchasing rules than actual technical challenges.

Awesome. Let us all know how it goes

Nice chiascuro on that first one, especially with the variation of having the overbright against the key side. http://www.dalemccready.com/images/corr.jpg This one is s combination of 4x2K fresnels on tall stands, 2x 5Ks bounced off low polys to lift the ceiling pieces and throw some...

I figured every now and then it'd be nice to see some work shots from stuff people have been doing. I'm really interested in seeing any cool shots you all might have. Anything goes here as long as it's work you've created yourself You can upload these directly in your replies to this post, but even ...

http://www.bigapplefilms.com/lowlight.html

Nice test of differing lenses, sources and ASAs on Red MX

Here a quote from Mike Manders, Senior Technical Manager, TVNZ: "We have technical standards for programme delivery which I have attached. Framing at this time is an interesting subject whilst there is a world wide transition to wide screen 16:9. TVNZ transmits to the Analogue VHF networks in 1...

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Thank you.

Dale McCready
Forum Admin

yeah it's a pretty consumer codec. I wouldn't go out of my way to shoot anything serious on it. Massive compression in colour and motion

this may be old to some people, but this product is worth a look if you're setting up an HD/Digital shoot on a stage and want to operate handheld or simply track while on the greenscreen: http://www.digitalcinemasociety.com/Popup.php?video=LIGHTCRAFT_NAB09.mov This comes from Roo...