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DuAll Cameras sells film movie cameras: http://www.duallcamera.com/ They're in Westfield, NJ. It's a trip from Albany but I think they're one of the few if not the only ones, and their reputation precedes them, which counts for a ton if buying an old film camera, unless you also fix and restore them.

Most cinematographers aim to get it right in camera and dailies, otherwise we’d have to put up with the director, producer, and studio execs complaining about the look being wrong or it not cutting together visually. We can’t wait for final color-correction months later to “get it right” because we’d have probably been fired long before that.

Price drop! Full set 1000,- EUR.

There are blue colors in the trailer.

Hi Michal, DM

Hi Sean, Could you please send pictures of the glass front and rear of the 25mm? my email is xaviercunilleras@gmail.com Thanks

Hello Community ! (picture from the aaton ltr7 manual) - This might sound like basic questions but i must ask : 1) HOW DOES THE BEAM SPLITTER ON THE AATON LTR 7 WORKS what does the manual means by 'aaton VR30' system in the first paragraph ? 2) how do i know the one inside my LTR works ? how do i get the beam splitter signal out on a monitor ? 3) there is no connection whatsoever for video output on my ltr (no BNC - as it is sometimes apparent downside the magazine near the iso adjustment - or connector apparent near the beam splitter and so called aaton VR30), i do understand this beam splitter has an on/off position. I also do not possess the m3 allen wrench mentionned in the second paragraph but i can't even find the screw i should access to switch the BS position , or maybe it does not exist ? 4) Should i consider a better and easier alternative way to video tap on my aaton ltr7 with a micro camera through the viewfinder ? what camera and lense model is best suited for this configuration Thanks in advance, J aaton manual p20 png.zip

Hello, I've got all the majority types of filters and wanted to check whether I have missed anything really important as a cinematographer. If so, could you let me know which one so that I can plan to add it to my collection. Schneider 4x5.65 Hollywood Black Magic 1/2 Schneider 4x5.65 Hollywood Black Magic 1/4 Schneider 4x5.65 Hollywood Black Magic 1/8 Schneider 4x5.65 Hollywood Black Magic 1 Schneider 4x5.65 Hollywood Black Magic 2 Schneider Hollywood Black Magic Filter 82mm / 1/4 Schneider Radiant Soft Filter 4x5.65 / 5 Schneider Radiant Soft Filter 4x5.65 / 4 Schneider Radiant Soft Filter 4x5.65 / 3 Schneider Radiant Soft Filter 4x5.65 / 2 Schneider Radiant Soft Filter 4x5.65 / 1 Schneider Radiant Soft Filter 4x5.65 / 1/2 Schneider Radiant Soft Filter 4x5.65 / 1/4 Schneider 4 x 5.65" Linear True-Pol Polarizing Filter #68-013056 Schneider Optics 4x5.65" UV-410 (HAZE 1) Filter #68-124156 Schneider 4 x 5.65" True-Cut 750 IR Filter #68-121056 Schneider 4x5.65" Clear Optical Flat Glass Filter # 68-120056 Schneider 4 x 5.65" True-Net Beige 1 Filter Glass Filter MFR #68-095156 Schneider 4 x 5.65" True-Net Beige 2 Filter Glass Filter MFR #68-095256 Schneider 4 x 5.65" True-Net Black 1 Filter Glass Filter MFR #68-094156 Schneider 4 x 5.65" True-Net Black 2 Filter Glass Filter MFR #68-094256 Schneider 4 x 5.65" True-Net Black 3 Filter Glass Filter MFR #68-094356 Schneider 4 x 5.65" True-Net Gray 1 Filter Glass Filter MFR #68-096156 Schneider 4 x 5.65" True-Net Gray 2 Filter Glass Filter MFR #68-096256 Schneider 4x5.65" True-Cut 715 IR Infra-Red Glass Filter MFR # 68-121256 Schneider 4 x 5.65" 2mm Indigo True-Streak Filter Schneider 4 x 5.65" 2mm Blue True-Streak Filter Schneider 4 x 5.65" 2mm Clear True-Streak Filter Schneider 4 x 5.65" True-Streak Rainbow Filter Schneider 4 x 5.65" True-Streak Confetti Filter Schneider 4 x 5.65" Rhodium® FSND 0.3 Soft Edge Horizontal Schneider 4 x 5.65" Rhodium® FSND 0.6 Soft Edge Horizontal Schneider 4 x 5.65" Rhodium® FSND 0.9 Soft Edge Horizontal Schneider 4 x 5.65" Rhodium® FSND 1.2 Soft Edge Horizontal Thanks, Paul

this is not the traditional "Fix It In Post" approach, it is rather the "Save It In Post To Make It Somewhat Watchable" method 😄 The difference to the older days "heavy post grading" is that the end product does not necessarily have high contrast at all. Just like the Indiana Jones trailer, the contrast is not particularly high in the final product but one can definitely see that it has been heavily corrected from shot to shot for them to be balanced compared to each other. One can see it on the Babylon trailer too. one possible explanation would be that it is a trend to use heavily motivated "practical sources based" lighting nowadays which leads to higher variations in source footage and thus one needs lots of post grading to make it even somewhat balanced in the end product. If you compare to the late 90's /early 2000's movies they definitely look like "overlit" compared to anything shot after about 2009 or so. The big soft low angle side light of the 90's/early 2000's is gone and everything went more motivated, higher variance, somewhat underlit and yes, occasionally much lower contrast too. One could see this as the big shows drifting more and more towards low budget indie in terms of time and effort used for each shot and scene. As well it having become a norm to try to hide the fact that you have lit the scene and thus trying to make it look "too natural" and "less cinematic" in a way

I think minimalistic lighting has been a trend for a while. This shows in the movies having a bit "rough" look because the contrast is manipulated a lot in post grading. I don't mean they necessarily leave the scenes unlit, but rather it being so much easier to light with modern fixtures and sensitive high performance cameras that it is "not necessary to finesse everything on set" and it definitely shows. They leave higher contrast variations to the raw materials and they are then later tried to be corrected to the same level in grading which leaves some unavoidable imperfections and characteristic contrast and dynamic range issues smoothed out by heavy grading. The end product is not necessarily super high contrast but the heavy post smoothing of the contrast definitely shows. So, one could call it underlit and overgraded I think? It helps to save the budget and fund the excessive vfx work most shows need so it is understandable. Adding more budget does not necessarily help, they would just use it for buying more and better VFX rather than fix the on-set lighting

Yes, many studio movies look very digital (almost like animated movies). I know there is a lot of CGI/Stagecraft going on, but sometimes it feels like the actors' faces are digitally retouched and the films are digitally lit. I wonder what are all the factors that lead to this.

God damn does it look like a Marvel movie but with face replacement.

They should have just made it black & white.

Lots of projects are over-graded and they look terrible. See the new Indiana Jones film. I don't know what the term is, but there is certainly a cinematographic equivalent of the Lord Privy Seal.

Cool to know, thank you for the advice. This is unfortunately a spot where the paint has already been removed.

PM me. Once I know what you want, I can send you a PayPal invoice.

It should be "crisper" for sure, but that's a good thing, not a bad thing. Some scanning techs do turn on the sharpening quite a bit on the scanner. Our scanner doesn't have this problem, the sharpening is off, so we actually slightly sharpen in post to control it better. Here is an example (test footage)

Batteries and charger have been “sold” and are no longer available. Thanks for looking.

Definitely interested. please let me know how to order one

Hi I’m interested purchasing a film camera preferably super 16mm I’m located in Albany NY. My price range is up to $1500

Still available

Do these lines on the reels of this 2007 Spirit scanner have any practical use or are they just for decoration? It looks like there is a pressure gauge in the scanner. What was it for? Photos: eBay - Fair Use From eBay listing for $4,000 2007 Spirit scanner sold as parts.

Thanks for the rundown on the Cintel, Perry! That's sad you can't afford a place. I mean, with a successful biz, if you can't afford it...who can? I hope heating a church is not too $$ crazy. Maybe you can sublet space out to defray costs. Well, send in some photos when you get settled. A work-house is on my wish list of things to buy. Of course, I don't have the $$ for one...but it is on my list. Around here, a doable work-house is a real option as long as you are not running a business out of it. Since I'm running an archive that sells nothing, it would be fine for me. First thing I'd do I would be to line every wall with chrome wire shelving. (That has skyrocketed in price from $89 to $149 per shelf unit.) Here is what you would get around here for a work-house... $10,000 house $55,000 house $130,000 house Having a proper place to work makes a world of difference. You don't have to fight things instead of doing your work. Perry touched on this with his comments about the Lasergraphics. Something along the lines of...you can do your work and not worry about reliability...type of comment. I've said this before about the need for constant gear acquisition. If you can get settled with your gear...you can just produce and be relaxed about your work. It is a nice place to be.

It appears the new version is shipping. From what I read yesterday, the only difference is the new light source that was mentioned here a few months ago. That's to allow them to do HDR in a single pass, rather than having to back the film up and run it a second time, which is clunky at best. It does not appear there's anything else new on there though, at least in terms of hardware. Still seems to be the same crappy camera as before, locked at UHD, which isn't even an aspect ratio that matches any film gauge. It's a cool design, poorly implemented. Rented. The commercial real estate market in Boston has lost its mind. The city is hell bent on "beating" the San Francisco Bay area on life sciences lab space square footage, so everyone with an inch of office space is trying to sell it as lab space. Even old gas stations. There's basically nothing you can buy in this town for anything even resembling a reasonable price. Our current building, where we've been for 15 years, and which has housed countless post production and production companies over the years - even the Boston Film Video Foundation (where you could rent Steenbeck time by the hour back in the day) - is being razed to construct a 12 story lab building. Outside our window, we can see 7 or 8 major construction sites, so it's been like one huge traffic jam here for the past two years. I'll be happy to be in a quiet (mostly residential) neighborhood that's quiet!

OK, thanks for the clarification, Perry.