165-foot Throw w/DVX100
1.85:1 - 2:1 - 2.35:1

1080i_or_780P

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

1080 Time-Lapse

30p or 60i

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

24p and Moire

24 Frame Project Problem In Avid

24p Concert Film

24P Digital Emulsion
24P & Shooting Fire
25FPS & 60Hz

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

60i _vs_59.94
70MPH Knuckleball Pitch

 

A Collection Of Topics From Art Adams

Adjustments

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

 

Blue Screen HD

Best Camera Support System For HDV Cameras

 

C300 Green Screen
C4 Explosions Captured On HD & Film

Camera Carts

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

Cine Speed Cam

Clockits

Clockit Jamming 23.98
Color Bit Depth

ColorCode 3D Light Transmission
Combining Film & F900

Continuing With Preset Timecode

Coring/Detail on HDCam

Cost of 3D

Crisis Of Identity

Crushing The Ped and NOISE

CTDM - Beta PVV1P/Dockable Deck

 

Data Recording

Defining 2K and 4K

Defining 6K Film Stocks

Definition and Role Of A Stereographer

Detail Settings

DF vs NDF

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
Direct disk recording of HD TK

DI Storage

DIT or Colourist

DoP Relationship To Film & Digital Intermediate

DP New To HD

Downconverting

Downconverting Delay *(Miranda DVC- 800)

DVCPRO - HD

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

ENR Transfer

Equipment Package

ET Shoulder Mount (RED)

Event Horizon

Exposure On The DVX-100

 

F5 v F55
F900/3 Compared To 7218 Test

F-900/3 Detail

F900 Genlock

F900 In A F18 Hornet Cockpit
F900 Scene File Help
F900 Gamma Curve variations
F900 Skin Detail
F900 - Time Lapse With Hi-Def

F900 with Steadicam

Film-Digital Projection
Film-F900-Viper to film out comparisons

Film_Grain vs Video_Noise

Filming An LCD Screen

Firewire
First looks at 24P HD to 35mm

Flange Distance For Red

Foot Candle Requirements For Red

Formats

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

HD To 35mm - Continued

HD-To-SD Better Than SD

HD Data Capture

HD Downconversion

HD Downconverts To 4:3

HD Exposure
HD Fact sheet 101

HD Feature In The Swamp

HD Helicopter Fun

HD - It's Too / Soft - Too Sharp

HD Latitude

HD Lens On DigiBeta Cameras

HD Lenses On Film Camera's

HD On The Run

HD Pinhole

HD Post Costs

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 Sync

HD Tape Stock

HD Video Assist

HD vs Super 16mm

HDX900 vs F-900-3

High Definition Cinematography

High Speed 3d

High Speed Tracking Shot

How Much Steadicam?

Ideal Pixel Box

Ikonoskop

Intercut Varicam & SDX900

Is 23.976 A Flicker Free Frame Rate

 

Judging RED Exposure

 

Large Format
Learning about Film Optics

Lines Per Millimeter Of Resolution Of RedOne Camera

Location Sound Package For TV

Low Pressure / Temperature Filming

Luminance Bands
LUT Inversion

 

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 4K HD

RED 64asa Against 18% Grey Card

RED and Colour

Red Anamorphic and High Speed

Red Camera Speed Ramps

Red and Colour

RED and Depth of Field

RED and 3D LUTs On Set

RED & Lighting For The Native Sensor Kelvin Rating

Red Drive Reliability

RED Exposure Latitude Tests

RED Feature Shot In 2k

RED Help

RED In Lowlight

Red IR

RED IR Hands On In Hannover

Red Mysterium X Film Out

REDLog or REDGamma

RED ONE D.I.T

Red One Hand Held Rig

Red One In 2K Mode

Red One In The Jungle

Red One Sensor Size and Anamorphic Lenses

RED Pixel Size

Red Primes

Red Rocket

Red School

RED Shutter Angle Question

RED & Sodium Vapor

RED Spot

RED Stainless Mount

Red Underwater

RED vs Film

Red With 16mm Zooms

RED With Bellows Lenses

Red Workflows

Recovering HD

Reference Monitor Issue

 

Scanning At 2K

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

Still Scans

Stuck C300

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

Time-slicing

TV Safe - A Thing Of The Past

Two HD Formats With Two Cameras

 

Ultra High Definition - UHDTV

Underexposed Red

Uprez 720

Up-rez To 35mm

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
White Pixel

 

 

Recent CML Tests :-


Film-Alexa-Epic by Valvula Films


9 cameras RAW


Aces Rushes One Light


Alexa 4 stops over and back

RAW V Compressed F55 Alexa

Contrast handling in a real world test

Alexa - 435/5219

Alexa Epic F55 F65 single candle

Arri LUT's

Alexa BMCC C500 Epic F55

Camera Matching
Alexa BMCC C500 Epic F55 F65

Alexa-Epic-F65

Effect of noise & compression on Green Screen Alexa C500

Initial ACES tests

 

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