Collected conversations between cinematographers and crew about digital cameras

165-foot Throw w/DVX100

1.85:1 - 2:1 - 2.35:1

1080i-60 or 720p-60 Choice For Slow Motion Out To 35mm

1080 Time-Lapse

18% Grey Translation To IRE Value

2.35:1 Within 16x9

2.35:1 Aspect Ratio & HD

23.93 HD & 60Hz Generator

23.98 - The Archival Recording Frame Rate Of Choice

24 Frame Project Problem In Avid

24p Concert Film

24P Digital Emulsion

24P & Shooting Fire

1K, 2K, 4K, 10,000K

2k 4:4:4 Spec Check

2K Transfer on a Spirit

3D For Small Feature

30fps Compositing

30 Seconds - Tone & Bars

4 Camera 24pHD Crew

4K Demo Of Film & Digital Cinema

70MPH Knuckleball Pitch

A Collection Of Topics From Art Adams

AJA IO vs AJA Kona - Deck Link

AJA SDI to Firewire Box

AG - DVX100 Black Levels

Alexa As Docco Camera

Aliasing On Right-hand Side Of F900

Aliasing With Bright Red Edges

Alexa Blue Screen

Anamorphic Lenses On HD

Anamorphic Solutions & Uprezzed Outputs

Arri Alexa Dynamic Range

Best Camera Support System For HDV Cameras

C300 Green Screen

C4 Explosions Captured On HD & Film

Camera Mic On F900

Calibrating Monitors In The Field

Candle Flares On The RED With Cooke S4s

Car Mounts For DVX100

Car Mounting HD Cameras

CCD Flange Focal Distances

CCD Technical Information

Check or Carry Video Cam On A Plane

Choice Of Formats

CineAlta vs Varicam For Greenscreen

Cinegamma & IRE

Cine Lenses With DV

Cinema look/Digital projection

Clockit Jamming 23.98

Color Bit Depth

ColorCode 3D Light Transmission

Combining Film & F900

Continuing With Preset Timecode

Coring/Detail on HDCam

Crisis Of Identity

Crushing The Ped and NOISE

CTDM - Beta PVV1P/Dockable Deck

Defining 2K and 4K

Defining 6K Film Stocks

Definition and Role Of A Stereographer

Detail Settings

DI Comes Of Age

Diffusion For HD

Digital Latitude in F950-Viper-D20 & Dalsa

Digibeta v Beta

DigiCon filters from Schneider

Digital Camera As Reference

Digital Dailies and DI

Digital Post V Cine Art/Craft

Digital Film Grade

Digital Camera As Reference

Digital Image Stabilization

Digital Intermediates

Digital Projection

Digital Projection Business

Digital Stills Camera for Time Lapse

Digital Test Unit DOP

Digizoom Back Focus

DIT or Colourist

DoP Relationship To Film & Digital Intermediate

Downconverting Delay *(Miranda DVC-800)

DVX-100 24p Digitising

DVX-100A Shooting 4:3 vs 16:9

ECinema Display Box EDP100

EDP100 or Decklink Multibridge Express

ENG Style 35mm Zoom

Equipment Package

ET Shoulder Mount (RED)

Exposure On The DVX-100

F900/3 Compared To 7218 Test

F900 In A F18 Hornet Cockpit

F900 Scene File Help

F900 Gamma Curve variations

F900 Skin Detail

F900 - Time Lapse With Hi-Def

Film-Digital Projection

Film-F900-Viper to film out comparisons

Film_Grain vs Video_Noise

Filming An LCD Screen

First looks at 24P HD to 35mm

Flange Distance For Red

Foot Candle Requirements For Red

Fujinon 20x7.5 Macro Question

Grey Scale Imaging Performance

Geared Head For The RED

Hard vs Soft Matte For Answer Print

Have You Shot HD Before?

HD 1st AC 101 Lesson Plan

HD Across The Pond

HD Cameras As Stocks

HD Camera Shutter Problem

HDCAM-SR For DI

HDCAM Tape Dropouts And Aging

HDCAM Time Lapse

HDCam V D6 Voodoo

HD To 35mm - Continued

HD-To-SD Better Than SD

HD Data Capture

HD Downconversion

HD Downconverts To 4:3

HD Fact sheet 101

HD Feature In The Swamp

HD Helicopter Fun

HD - It's Too / Soft - Too Sharp

HD Lens On DigiBeta Cameras

HD Lenses On Film Camera's

HDR-FX1 Hands-on

HD Scanned Film In Theatres

HD / SD Comparison & QuBit Capture

HD-SR For S-16 Bestlights Transfer

HD Shutter Problem

HD Video Assist

HD vs Super 16mm

HDX900 vs F-900-3

High Definition Cinematography

High Speed Tracking Shot

How Much Steadicam?

Ideal Pixel Box

Intercut Varicam & SDX900

Is 23.976 A Flicker Free Frame Rate

Judging RED Exposure

Learning about Film Optics

Lines Per Millimeter Of Resolution Of Red One Camera

Location Sound Package For TV

Low Pressure / Temperature Filming

Luminance Bands

Matching Footage

Maximum Cable Length

Memory Sticks For F900

Monitoring and Exposure For RED

Multiple F900's

Music Video Shooting At 30p

My First Real Red Experience

On Set Colour Correction

Output Of LCD Projectors

Overcranked Varicam > 25P SD

PD-150 Audio Problem

Philosophy of Exposure

Photosonics On Video

Pixel Still Stuck

Playback From The Camera

Polar Bear on Blue Screen

Progressive Imaging

Progressive Scan & Edge Detail

Progressive_&_Interlaced Scanning

Proofing Your Shoot

Protection For Cameras From RF

Quantel Guide To DI

Radiation & Pixels

Real Resolution / How Big Is A Pixel?

Reciprocity Failure

RED 23.98 @ Night W/Street Lights In Frame

RED 64asa Against 18% Grey Card

Red Anamorphic and High Speed

RED and Depth of Field

RED and 3D LUTs On Set

RED & Lighting For The Native Sensor Kelvin Rating

Red Camera Speed Ramps

Red Drive Reliability

RED Exposure Latitude Tests

RED Feature Shot In 2k

RED In Lowlight

RED IR Hands On In Hannover

Red Mysterium X Film Out

REDLog or REDGamma

Red One Hand Held Rig

Red One In 2K Mode

Red One In The Jungle

Red One Sensor Size and Anamorphic Lenses

RED Shutter Angle Question

RED & Sodium Vapor

RED Stainless Mount

Red With 16mm Zooms

RED With Bellows Lenses

Reference Monitor Issue

Scanning Requirements

SDX 900 : Additional Tips & Tricks

SDX900 & Monitor Out

SDX900 - Tips For First Time Users

SDX900 vs Res Interlace

Sea-Change In HD

Settings For PD 150

Setting Timecodes

Shooting Aerials With Varicam

Shooting HD For PAL

Shooting HD (Varicam) To Intercut With 16mm

Shooting HiDef Blue/Green Screen

Shooting_In_Mali-Africa

Shooting - Recording 1080 60p Frame Rates

Shutter & The CineAlta For Composite Work

Single-lens - Single-camera 3D Test

Sizes of DVC/DVCPRO Tape

Skin Tones In HD

Slow-Mo Explosions In 24P

Sony Gamma Builder For F900

Sony/Varicam and Color

Super 16 Not HD Resolution

Tape In Humid Conditions

Terminator For Monitor

Testing HD Lenses

Theatre Video Projection

The Magic Of The Red

The Truth of -3db

Things U Can't Fix In Post

Tri-level Sync And Time Code

Time Lapse With Hi-Def

TV Safe - A Thing Of The Past

Two HD Formats With Two Cameras

Ultra High Definition - UHDTV

Underexposed Red

Using Multiple Video Formats

Using The Damn Light Meter

Varicam & Compositing

Varicam Post Workflow

Varicam-Pro35 Adaptor Problem

Varicam_RF_Post Fix

Varicam - Sync, Sound & Focus

Varicam vs Super 16 For Slo-Mo

Virtual Eye Piece

Video for the Web

Viewfinder Blues

Viper FilmStream Film Project

Viper 'Magenta' Filter

Viper Post Methodology

Viper Tests Warming Filters

Weave, Half Wipe & Hologram Effect With S16mm

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