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fdtimes
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Registrace 16. 08. 2007
The official CZcams Channel for Film and Digital Times.
Jon Fauer's Film and Digital Times reveals the nuts and bolts, how-to and how not to, technique and technology, style and strategies, tips and trends for Cinematographers, Photographers, Videographers, Directors, Producers, Camera Assistants, Camera Operators, Gaffers and Grips, Rental Houses, Manufacturers, Students and Faculty.
Inside-the-industry information for professionals by professionals-here's the job at hand: how do we use these tools and techniques to get the results we want?
Film and Digital Times is published on paper and online roughly every two months. Join the adventure and subscribe online at fdtimes.com
Jon Fauer's Film and Digital Times reveals the nuts and bolts, how-to and how not to, technique and technology, style and strategies, tips and trends for Cinematographers, Photographers, Videographers, Directors, Producers, Camera Assistants, Camera Operators, Gaffers and Grips, Rental Houses, Manufacturers, Students and Faculty.
Inside-the-industry information for professionals by professionals-here's the job at hand: how do we use these tools and techniques to get the results we want?
Film and Digital Times is published on paper and online roughly every two months. Join the adventure and subscribe online at fdtimes.com
FDTimes Running with Ronin4D h265
New score by Evan Rashby added, Dec. 19, 2021.
H.265 Quicktime.
On a fine fall day, with Ronin 4D in hand, we headed to the Jacqueline Kennedy Onassis Reservoir Running Path in Central Park. The crew was complete: two architects and the editor of FDT. We were running pretty much flat out. The Ronin 4D stability ability was amazing. Shot entirely handheld, on the run, at full tilt, the Z axis soaked up the bumps while the gimbal’s pan, tilt and roll axes kept the city skyline and billionaires row in the distance horizontally level and steady. Focus and ActiveTrack engaged to keep focus sharp and framing steady.
DP: Jon Fauer, ASC
Camera Operator: Jonathon Brearley
Runner: Marlena Fauer
Original score composed and performed by Evan Rashby
H.265 Quicktime.
On a fine fall day, with Ronin 4D in hand, we headed to the Jacqueline Kennedy Onassis Reservoir Running Path in Central Park. The crew was complete: two architects and the editor of FDT. We were running pretty much flat out. The Ronin 4D stability ability was amazing. Shot entirely handheld, on the run, at full tilt, the Z axis soaked up the bumps while the gimbal’s pan, tilt and roll axes kept the city skyline and billionaires row in the distance horizontally level and steady. Focus and ActiveTrack engaged to keep focus sharp and framing steady.
DP: Jon Fauer, ASC
Camera Operator: Jonathon Brearley
Runner: Marlena Fauer
Original score composed and performed by Evan Rashby
zhlédnutí: 237
Video
FDTimes DJI Mavic Air2s Southampton
zhlédnutí 398Před 3 lety
Testing Mavic Air 2s in Southampton, Long Island. ProRes422HQ.
ARRI Artemis Trinity FDTimes
zhlédnutí 888Před 8 lety
ARRI Artemis Trinity at NAB, narrated by Curt Schaller, BVK
ARRI HD-IVS High Definition Video Assist
zhlédnutí 6KPřed 14 lety
Film and Digital Times' Jon Fauer looks at ARRI's new HD IVS video assist for Arricam and Arriflex 435 cameras. With George Schmidt and Gus Gustavson. Shot with Arri D-20 camera, HD 1920x1080 24p, Arri/Zeiss Master Zoom 16.5 - 110mm. 850 MB High-Rez file.
FGV-PL_Canon7D.mov
zhlédnutí 24KPřed 14 lety
FGV-PL Canon 7D. PL Mount Conversion for Canon EOS 7D, accepts all PL-mounted cine lenses. Shot at ARRI/CSC New York by Film and Digital Times, on an Arrihead, with ZEISS Master Prime. Made by FGV-Rentals, Munich. www.fgv-rentals.de
ARRI HD-IVS FDTimes Medium
zhlédnutí 1,3KPřed 14 lety
Film and Digital Times' Jon Fauer looks at ARRI's new HD IVS video assist for Arricam and Arriflex 435 cameras. With George Schmidt and Gus Gustavson. Medium Size
ARRI HD-IVS: HD Video Assist - Large
zhlédnutí 509Před 14 lety
Film and Digital Times' Jon Fauer looks at ARRI's new HD IVS video assist for Arricam and Arriflex 435 cameras. With George Schmidt and Gus Gustavson. Large Size
ARRI HD-IVS FDTIMES (low-rez)
zhlédnutí 259Před 14 lety
Film and Digital Times' Jon Fauer looks at ARRI's new HD IVS video assist for Arricam and Arriflex 435 cameras. George Schmidt, ARRI Inc service manager and Gus Gustavson of ARRI/CSC explain the details.
Loading ArriCam Lite Magazines
zhlédnutí 23KPřed 14 lety
Loading ArriCam Lite Magazines. www.fdtimes.com
ArriCam Trailer
zhlédnutí 4,2KPřed 14 lety
ARRICAM Trailer. 4 1/2 minutes. 2010 Jon Fauer - not to be copied, duplicated or posted. www.fdtimes.com
ArriCam Nuts and Bolts
zhlédnutí 1,2KPřed 14 lety
ARRICAM Nuts & Bolts. 45 minutes. © 2010 Jon Fauer - not to be copied, duplicated or posted. www.fdtimes.com
wow what a amazing intro video! 7 minutes like a film with outstanding atmosphere!
I wish there was a hd upload of this somewhere
2018 and 2023 (Dec 2, 2023)
It seems to be an unwritten rule that any video about professional film camera equipment has to be filmed in the lowest imaginable 144p resolution.
I watch this to hype me up before my shoots
old school great work
This inspires me alot to continue being a filmmaker 👏🏽🔥
So is this just a video from the 90s or is it recent footage that looks incredible?
What's the song?
A video on a professional cinema camera that has some of the worst interlacing issues I’ve ever seen. Jesus!
I love that they kept the passive aggressive nature of working on set in this promo. Do we have to go Dutch like this? I thought that's what you wanted.
1:42
Poor guy is still looking for his cooler.
Anyone know what the music is?
wow
This video teaches you more about film making than polish film schools nowdays...
spectacular
Arriflex 235 bl
Ahh when Denver's new airport was "high tech"
Sounded like Miami Vice at the beginning lol
Those aerial shots of the buildings followed by the boat reminded me of Miami Vice.
do we have to do it dutch like this?... uhhhh we don't have to Dave, I thought that's what you wanted... Can we do it both ways? ... uhh we don't have time...
Those are some pro crews right there
These are great Thanks. Do you have any with the Arriflex 435 Xtreme?
the efficiency of that design is amazing! Feed side displaces takeup and adjusts for space as it's exposed. smaller mag less weight.
that shit is so tight man, im ready to use F I L M
Even in low res CZcams, film always looks better then video.
i think this spot was taken in video...just look at those video glitches.
@@artjonshahaj7291 lol
genius2005 i like that i answered u after 5 years and h replyied almost instant ahahha cheers
Hahaha cheers!
@@artjonshahaj7291 the quality originally looks like film, but those video glitches are from what's called interlacing, probably from when it was recaptured digitally 20 years ago
When did this happen? When I bought my Arri 435 ES two years ago, Arri didn't say anything about an "HD IVs" :(
I'm glad to hear you say that. I 100% agree, especially 16mm film. It just has a look that can't be copied. I still have my SR2 fully upgraded almost to the point of an SR3. Some TV shows and movies are still being shot on 16. I would love to see more.
you can use a tent or a bag if on location like harrison film changing tents get your production to get one if there is no darkroom in a camera track
He didn't say that at all. He is just saying that he prefers the look of film over digital. I do to. And actually Fuji just announced this month that they are discontinuing the manufacturing of their motion picture film. Fujifilm was only about 20% of the entire motion picture market, but Kodak is STILL going STRONG!!
What Kodak and Fuji stop manufacturing film stock? :)
It has a very 90s feel to it.
feels Baywatchy (at least the intro haha) LOVE IT.
My guess is 1991 to 1992
so you need a dark room??, I did a coarse on this we used a small darkroom box with our hands ONLY inside, we had to feel our way through the film FEED process, the cameraman in charge of the coarse Cringed when the display demo was done, for the class because the film was apparently damage by light while they showed everybody
Of course . No light should see the film. So I presume it’s loaded in the dark . But maybe there is another method
Shooting film has never been more affordable than RIGHT NOW. Whether you're contemplating 16mm or 35mm, quality cameras, film stock and processing are finally within reach of the serious amateur. If enough prospective filmmakers take up the cause, film may continue to remain a viable choice for many years to come.
Very early 90's
1992
I love this clip.
Thank you all out there for subscribers to my channel A1989K and and leave a comments Thank you for you time it will help me a lot. Please do me the favor and follow me on twitter twitter.com/#!/AlexRawFootage
amazing these SR3's were over $100,000 in the early 90's when they came out. now they are going for $10,000 mint... i'm very tempted to pick one up. they are for sale everywhere. I refuse to shoot digital. I want film grain and the color pallet of film, the unique look of film that digital cant match. some people call me crazy but I see it as following my dreams. I cherish the classic film look.
🙏🏾💯
@JDMVideographing They had GPS and laptop computers so It's gotta be mid 90's.
there is a date in gps screen 28 may 95
Classic, do u know what year or years this would of been around??
I'd say 1992
ahh, the master primes, how I love thee, check out my Red Epic unboxing!
ARRI it's a serious equipment
The camera may be affordable to some but that lens is not! lol. Prime lens with T-stops are very expensive. Just think if how expensive it would be with a multi cam set-up. Still nice though. I wouldn't call this a pro video camera ,I would call it a pro HD movie camera.
A-W-S-O-M-E !!!
@darulmuhajirin1 If you sell your arms and legs you still wont be able to afford it.
@FXerGerFra There is not thing a shame about this camera. This camera probably as good as any other pro video camera. Some of the stuff you have seen on the TV probably has been film by this camera but the best thing is that it doesn't cost an arm or leg to buy. Which means people who want to produce cinematic film can now do it.
a shame having such a lens on such a camera instead of a serious camcorder.
I know
@studioeffects True that
@Elvarks you can never overkill on equipment. :) yum yum yum.