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Phil Rhodes

Member Since 26 Dec 2003
Offline Last Active Today, 06:01 PM
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Topics I've Started

Multiple-choice question

Yesterday, 11:44 AM

Let's see. Do dumb action movies start looking like this because:

 

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1) The writers were deeply, personally interested in exploring an interaction between the architectural and historic uniqueness of the Old Country and their intricately-woven tapestry of personal and interpersonal factors attending Spider-Man and his interaction with a changing sociopolitical landscape, or

 

2) There are tax breaks.

 

Either way, I say burn it all down.

 

P


A tricky location

20 December 2018 - 02:34 PM

The idea is that this will play as a lounge at an airport. Scene a first actor waiting, a second enters, approaches, and they converse. There's not much blocking after the second enters. The scene is preceded by a hectic dash through the building; there's a desire to contrast that with slow, controlled camera motion in this location to emphasise the icy calm of the first character.

 

Naturally, most of the furniture would be cleared; we'll have to try and rustle up some tables and signage to sell it as an airport. Possibly we can do some basic VFX to drop some aircraft tails in outside the windows; it's not actually bad from that perspective.

 

The problem is those end walls, strewn with AV gear and associated clutter. There's a concertina divider halfway down which I could close and shoot both sides to make it look like the room ends cleanly, though it would rob me of a lot of depth in the space.

 

The weather makes it look interesting here, but of course can't be relied-upon. The window is south-facing and shown midmorning, so the sun will effectively swing across the sky over the course of a day.

 

Thoughts?

 

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Converting R3Ds

23 October 2018 - 05:49 PM

Hi folks

 

I have to cut some stuff together which includes stuff that's been shot on various Red cameras. Is there some straightforward commandline tool I can use to batch process it all into something more normal? 

 

I've no interest in getting bogged down in camera-specific workflows for this, nor do I want to deal with 8K material on a timeline.

 

Ffmpeg was able to do it at one point and could have gone directly R3D to ProRes .mov, which would be great, but of course Red started encrypting their files specifically to prevent this from being done. I hate to take this platform to complain, but good grief: something that's trying to be a professional digital cinema camera that produces deliberately-obfuscated data? Madness. I try to avoid all things Red, so I've almost no experience dealing with it.

 

Low-con HD ProRes quicktimes would be fine.

 

P


24V power connectors

19 October 2018 - 07:48 PM

Hi folks

 

Simple question. If I were to design a device that could at least optionally use 24V DC power, what sort of connector would we expect?

 

There are already several things in use for that, from various Fischer and Lemo connectors on specialist pieces of equipment, through XLRs of various pinouts. I know that Cine Power International use a rotating, speakon-style connector for their large batteries, which are specified to about 30V.

 

What's being used? What's out there? What's a good idea, and why?

 

Thanks for any thoughts,

 

P


Have you shot with full-frame cameras recently?

29 September 2018 - 03:38 AM

Hi folks

 

I hope this won't be seen as inappropriate, but I'm trying to find some people who've shot really big chip formats, including things like Venice, C700 FF, Alexa LF, and anything else.

 

If you've done this and you're willing to be interviewed for a magazine article, or you know anyone who has or is, please let me know by private message. 

 

I have to apologise for the haste - I need to get this done ideally in the next few days. I have had some very generous offers from people already but I'm a little concerned about timing.

 

Thanks,

 

Phil

 

 


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Visual Products

Media Blackout - Custom Cables and AKS

Ritter Battery

New Pro Video - New and Used Equipment

Tai Audio