Take a moment to leave a note, share some ideas or thoughts, make questions or give suggestions.
Be the first of your friends…
shouldn’t the Master Prime and Ultra Prime lenses be under ARRI/ZEISS like the ARRI/Fujinon Alura Zooms? Also the Alura Zoom 30-80mm T2.8 and the Alura 45-250mm T2.6 seem to be missing.
All of the Alura lenses are in the system, however they have not been associated with any projects. We are reviewing the other ARRI lenses and will make the necessary changes. Thank you for your feedback!
I love this site! What a great service. I will share it with friends in film and television production, past and present, to see if they can contribute information.
Thank you, we really appreciate your interest and contributions!
It would be great to get a 4K Digital Cinema variant under Dist. – to start to see which films were, and are, mastered and released in 4K DCP.
We have. Just choose D-Cinema and then choose your distribution resolution. Currently, there are 3 resolutions that can be considered 4K. We would like to capture the actual resolution that was used. Here is the list of currently associated distribution resolutions. http://shotonwhat.com/browse-index/distribution-resolution
It might be a good idea to have at least 2 categories for cameras. One for main shooting, and another for effects/high speed/aerials etc.
Or perhaps the option to add a note to each camera.
Thank you for the note. We have planned the ability to annotate the choices on the form to allow information such as camera use or other information.
On Camera Moves you haven’t listed the Academy Award Sci-Tech Winning Russian Arm..
Thank you. It has been added to the system under Filmotechnic. However, we currently do have any films it has been associated with. Please feel free to update your projects!
I’m curious if anyone has tested the Blackmagic Cinema Camera’s image for use as a B Cam/Insert Cam alongside the Alexa for feature use.
anyone have notes on BMCC compared to Alexa as B-Cam or insert cam?
I’m shooting my first feature in the fall, and want to avoid obvious pitfalls that will cause problems in post and, ultimately, in distribution. Are there any advantages to originating at 29.97 over 23.976p? I intend to consult with colorists and distributors before starting but thought I’d seek input here, too.
Thanks in advance.
No advantages unless you’re shooting a documentary. 29.97 will look odd to an audience watching a narrative film. 23.976 is the standard.
I really need more technical information about “El día de la bestia” (“The Day of the Beast”), a Spanish film by Álex de la Iglesia. Any idea where may I find it? Thanks!
I need some information on films being shot in 4k at the moment, specifically ones that are using the tech as a selling point. Can anyone help?
Hi, so I wonder how best you can shoot to eventually have that found footage or betacam look. They used to do it on Key and Peele
Did you know no one tracks commercial work. There are very innovative things that occur on commercial shoots it would be interesting to start tracking them across the US
We have been thinking about this for sometime now. I am glad you mentioned it, as it is a good impetus for us to start doing that!
Does anyone know any equipment details for the film “Legend” ?
I would like a
Can you skip 3 coffee's a year?
[ even if you don't ]