andy lee

quote from Roger Deakins cinematograper on James Bond Skyfall from his forum [url="http://www.rogerdeakins.com/forum2/viewtopic.php?f=2&t=1685"]http://www.rogerdeakins.com/forum2/viewtopic.php?f=2&t=1685[/url] "I am using no specialized IR filters. I do use NDs when shooting exteriors. I generally shoot with a 400 ASA setting and a ND6. I have seen no adverse colour shift and almost everything I shoot is coming in where I want it with our chosen LUT. The IR issue is not something I have experience of at all with this camera."( Arrialexa)

May be of interest for UK Forum members Tomorrow 13- 14 Nov is BVE North in Manchester Film and Broadcast Trade Exhibition Exhibitors include: ARRI - WITH ALEXA SONY - NEW CAMERAS CANON - NEW CAMERAS CVP - BLACK MAGIC PANASONIC - NEW CAMERAS JVC OLYMPUS free to register on line here [url="http://www.bvenorth.co.uk/Default.aspx?nid=1&refer=1&id=mainLnk1"]http://www.bvenorth.co.uk/Default.aspx?nid=1&refer=1&id=mainLnk1[/url]

there are some Tiffen Low Contrast filters on ebay now [url="http://www.ebay.co.uk/itm/TIFFEN-4x4-Low-Contrast-3-Glass-Filter-New-/160901918257?pt=Camera_Filters&hash=item2576806e31"]http://www.ebay.co.u...=item2576806e31[/url] and Schneider too [url="http://www.ebay.co.uk/itm/New-Schneider-Optics-4x4-Low-Contrast-2-Filter-Low-Con-Tiffen-Filters-/261081152982?pt=Camera_Filters&hash=item3cc9a63dd6"]http://www.ebay.co.uk/itm/New-Schneider-Optics-4x4-Low-Contrast-2-Filter-Low-Con-Tiffen-Filters-/261081152982?pt=Camera_Filters&hash=item3cc9a63dd6[/url]

Kodak Wratten filters [url="http://motion.kodak.com/motion/Products/Lab_And_Post_Production/Kodak_filters/wrattten2.htm#s7"]http://motion.kodak.com/motion/Products/Lab_And_Post_Production/Kodak_filters/wrattten2.htm#s7[/url]

I use Kodak Wratten filters they are very good. 3x3 and 4x4 with Arri Matte boxes

Article on Roger Deakins discussing 2.8k Arri Alexa and 4k projection from www.Studiodaily.com [url="http://www.studiodaily.com/2012/09/roger-deakins-digital-odyssey-not-in-4k/"]http://www.studiodaily.com/2012/09/roger-deakins-digital-odyssey-not-in-4k/[/url] Saturday afternoon in IBC's Big Screen Theater, celebrated cinematographer Roger Deakins, ASC, BSC, took to the stage and spoke about his experience shooting the soon-to-be released James Bond film [i]Skyfall [/i]on the ARRI Alexa digital camera. While Alexa is being used more frequently to acquire big-budget Hollywood films, notably this year's box-office crusher [i]The Avengers[/i], the camera is an even larger hit among DPs in episodic television, where it has now surpassed a whopping 85% market share. What makes Deakins ARRI's new crown prince of Alexa users? Nominated for nine Academy Awards for Best Cinematography and known for his frequent and consistently artful collaborations with the Coen Brothers and Sam Mendes, Deakins was until recently also quietly and defiantly devoted to shooting film despite the accelerating industry-wide migration to digital acquisition. You can understand how ARRI, which sponsored the presentation at IBC, would react when Deakins eventually used and subsequently endorsed the 2K-resolution digital Alexa—especially during a show where 4K resolutions are at the heart of this year's product demos, show-floor discussions and company rivalries. It is the relative merits of 2K vs. 4K resolutions in both acquisition and digital cinema distribution and projection that gives this debate its context here at IBC. On the opposite side of the ring sit manufacturers like Sony, with its F65 camera and [url="http://pro.sony.com/bbsc/ssr/mkt-digitalcinema/"]CineAlta 4K digital cinema projector[/url], and RED, with its boundary-pushing 4K and 5K cameras and developing 5K laser projector. Those companies maintain, as many others developing the hardware and software to support 4K workflows in general here at IBC also believe, that images aquired at the highest resolutions possible translate into beautiful, pristine images on the big, and even bigger screen. Add to that equation visionaries like Christopher Nolan, who shoot booth digitally and on film while aiming for the largest and richest resolutions possible to bring his vision, and DP Wally Pfister's beautiful images, to clear, richly saturated life. Proponents of high-resolution images can also now support their argument with yesterday's news that [i]The Dark Knight Rises[/i], shot on film (Panavision and Arriflex) and IMAX, [url="http://www.flicksandbits.com/2012/09/10/the-dark-knight-rises-crosses-600-million-internationally-now-one-of-the-top-10-grossing-films-of-all-time/31159/"]officially became one of the top ten highest grossing films of all time.[/url] ARRI engineers and product managers have heard this all before but see nothing wrong with up-resing Alexa's 2K images onto traditional and 4K and/or IMAX screens. In a press conference on Sunday, ARRI camera system product manager Marc Shipman-Mueller extolled the virtues of Alexa, noting the many DPs on hit shows like [i]Dexter[/i] and [i]Mad Men[/i] who simply love the images and workflow they get out of the Alexa on set. When asked during a Q+A session when there will be a 4K version of the camera, however, Shipman hardly blinked before delivering his answer to those of us in attendance. "There is just not an urgent need for it," he said. "When you have Roger Deakins, adored for his film work, shooting [i]Skyfall[/i] and [i]he[/i] is comfortable up-resing to 4K and showing on IMAX, I think it speaks for itself." It didn't hurt that [url="http://www.arri.com/en/videos.html"]James Cameron and Vince Pace, who are also here at IBC[/url], believe that shooting with Alexa "really feels like you are working with a film-based approach." ARRI intercut Saturday's presentation and discussion with Deakins with plenty of [i]Skyfall[/i] excerpts shown on the 4K Big Screen Theater, itself a kind of über pop-up cinema experience only possible through the contributions of the top-tier directors and film and broadcast companies and executives who partner with IBC. They were indeed gorgeous. It is hard, however, to draw comparisons between up-resed 4K and true 4K resolutions when caught up in the expertly shot, edited, graded and finished clips, further enhanced by a Dolby 7.1 surround sound track. Many practiced eyes here at IBC will tell you they can spot the difference between 2K and 4K immediately, and Deakins himself admitted he feared up-resing ARRI Raw to IMAX would not look good enough. But once he saw the results, he put his fears to rest. "The images I have seen in the IMAX theater are simply superb," he told the audience. If you didn't make it to IBC or even to the presentation Saturday, ARRI has posted the full presentation in several parts, minus the [i]Skyfall[/i] clips for obvious copyright reasions, to its site and to YouTube. Part one is at top;[url="http://www.youtube.com/user/ARRIChannel?feature=CAwQwRs%3D"] the remaining parts are on ARRI's official YouTube channel[/url]. You can also watch cuts of Deakins' images in the official [i]Skyfall[/i] trailer, coming to IMAX theaters in November:

Its quite a nice collection of cameras to see close up! 'the best of the best!' as the expression goes. Interesting to see your picture of the F65 Sensor.......

looks like a very interesting day!! I wish there was one in the UK too!!

I would really like to try these Tony - Im based in Manchester . Maybe use them on a short as a test?

interesting to hear Roger Deakins say in the video he was stacking ND's for some shots when outside as the Alexa is 800 iso looking at some of the boards from Skyfall you can see what lenses and filters he was using [img]http://www.eoshd.com/comments/uploads/inline/19952/509e6275ad102_SkyfallClapperboardTurkey3May2012300x300.jpg[/img][img]http://www.eoshd.com/comments/uploads/inline/19952/509e628053640_vYCe.jpg[/img] [img]http://www.eoshd.com/comments/uploads/inline/19952/509e635f9e14a_007headedunderground.jpg[/img][img]http://www.eoshd.com/comments/uploads/inline/19952/509e636c13993_007twitter.jpg[/img][img]http://www.eoshd.com/comments/uploads/inline/19952/509e63793fbec_AfHIK1lCQAA0bmp.jpg[/img][img]http://www.eoshd.com/comments/uploads/inline/19952/509e638921ea2_skyfall_1469216a.jpg[/img][img]http://www.eoshd.com/comments/uploads/inline/19952/509e639b9dc6b_drymartinitweet.jpg[/img]

here we go again newbie forum needed!

I use tungsten light and put up with the heat , get a set of Red Heads some Lee diffuser and gels you will get good results its a proven work method.

[img]http://www.eoshd.com/comments/uploads/inline/19952/509da18a112b2_master1.jpg[/img] Cinematographer Mihai Malaimare Jr. mans a Panavision System 65 camera in the desert near Barstow, Calif. [img]http://www.eoshd.com/comments/uploads/inline/19952/509da1aaf2477_master2.jpg[/img] The wide array of lenses tested by the filmmakers included several that were once employed by Gordon Willis, ASC (best known for his work on [url="http://en.wikipedia.org/wiki/Francis_Ford_Coppola"]Francis Ford Coppola[/url]'s [i][url="http://en.wikipedia.org/wiki/The_Godfather"]The Godfather[/url][/i] series) (labeled “Gordon W” in bottom row). “Those lenses were really particular and kind of fussy to work with — you had to really get ’em right,” says Anderson.

haha .....both typing at the same time!!

no the hack should be loaded into your camera once its loaded in you delete it off the card the new firmware is in the camera for good you dont need the file on the card anymore

you need to format it IN THE CAMERA!! using the menu not in your computor try this

I do hope they get this fixed soon there is a whole community awaiting this camera and willing it to work!! and wanting them to succeed so we can get a second model in a few years time! with more features fingers crossed!

American Cinematographer Magazine - November 2012 article on 'THE MASTER ' [url="http://www.theasc.com/ac_magazine/November2012/TheMaster/page1.php"]http://www.theasc.co...aster/page1.php[/url] shot on Kodak Vision 200T and Vision 50D very fine grain slow stock so needing alot of light on set! alot more than digital capture would have needed. a VERY INTERESTING READ!

this forum is all about sharing knowledge , I've spent many years sat in hi end grading suites and they do make a huge difference to the 'look and feel' of either digital or film projects. You can make both look like each other in post if you want to. For me the whole style of a project is made in the grade and there are so many things you can do to achieve the look you are after. You can even grade at home in Photoshop and achieve suberb results. Output each frame individually into a folder then sepearate out all the fames of a similar look from the edit into new sub folders . Then batch edit them in Photoshop ,processing them to achive the look you want , running every frame in each folder through the same batch settings for each edit. It takes time but lets you use the whole Photoshop package on your image including plugins like Imagenomic for skin smoothing etc. The big thing now in pop vidoeos is girl singers want the same skin smoothing/airbrushing as they get this in stills and they now what it in videos too! Just look at US pop videos and you can see the skin smoothing going on all over the place now! Christina , Rhiannna , Madonna, GaGa etc It gives that airbrushed look of a Vogue Magazine on a video.

Mark said [b][i]'cannot be matched by grading unless you mask off and grade every single item with colour in it. This would be so expensive as to be impracticable. And is so random I cant see technology figuring out a way to do it at least not in the forseeable future.[/i][/b]' Mark this is easy to do I use this function all the time its essential to grading its called 'selective colour' even Photoshop has this function so you can do it on stills too. it lets to alter each individual colour or combination of colours to achieve the look and feel you are after. Try it its very very useful As a projectionist Axel has no doubt watched more film stocks than all of us put together , he knows his stuff!! I always find Axel's advise very useful.

22 minuite Skyfall making of..... Spoiler alert..... http://www.youtube.com/watch?v=7U_Hl6EVk0w

I have to shoot some on car shots for a car chase, low angles by the wheels etc and I dont want to use GH2 for this ! so Im thinking of using a Panasonic GF3 as a crash cam. as its small and light and shoots avchd (yes I know Go Pro Black edition is out but it shoots H264) Has anyone used a GF3 Hacked to a higher bit rate?

you do have to alter colour tempetature with film! you have to use filters you cant shoot tungsten stock outside without altering the colour temperature with a filter! I spent years shotting through filters to do this! The most common of these is the 85 filter, which corrects daylight to tungsten. This is the filter we use when we shoot a day exterior with tungsten balanced film.

great news!!! and it is it looking good!!

I love this lens I have several and use them alot! its a very very sharp lens the best you can get! and Ive treid them all over the years!!