Re: Focusing the Red

Nate,

That's how we work, 1st Ac ,eye marks, 2nds calling marks on walkies, the whole 9 yards. When there's a mistake, mainly an actor missing a mark, we see it on the 20" monitor in real time. We have 2 exceptional 1st ACs who catch a lot on the fly, but when they miss, back focus drifts or something else goes wrong we see it, in real time. We can even playback tape, or data instantly at full res. That's what's expected from "Digital". I guess that genie's out of the bottle.

Picture this: Martini shot, 2 cameras, hand held, night exterior, t 2.8, 3am, your pushing 16hrs.,
performance is good, they yell "cut, check it, how was that for camera?" & I say "we're 80% sure it was good..." or
they have to wait for what ever process I've worked out for getting a decent res view. 40 PO'd grips, electrics, teamsters etc. who just want to get the (you know what) out of there.

As far a final resolution goes, the show is broadcast in HD & sold on Blu Ray DVD. I can see when a shot is soft on a standard def TV.

When I started working with the Genesis a few years ago, it became clear to me that when working with 35mm sized sensors and optics you need either 1; highest res output (real time) or 2; direct access to the optical path. It's only fair to the people have to work with this stuff.

Thanks