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  3. When you say strong video tap, would an Arri 35-III with video tap viewfinder be adaptable to a modern production crew provided the video camera was state of the art (it's a noisy MOS camera, I know, so no good for sync sound)?
  4. Yesterday
  5. The only cameras going up in value are production cameras, i.e. stuff used on feature films currently. Obsolete cameras will probably stay where they are. Without a strong video tap theres a limit to how useful they are.
  6. Who will service film cameras as the years go by, as most camera techs still extant are getting on in years somewhat, are they not? (well, ye know, sure the same might be said of meself, says I leaning on me shillelagh). Are the flashier, more 'electronic' models going to encounter internal problems? For instance an ST or 416 might pop a circuit board in years to come and it might be difficult to replace it. I'd think market prices for film cameras should reflect that reality.
  7. This camera was offered to FJS International by a company in the UK. The owner contacted me to tell me that the cameras was his and is not for sale.
  8. Good to know. I like this camera as it is small, comparatively light, yet quiet. And well, can one admit it? It looks so professional!
  9. Also, with video and AF with these small stills-type look cameras, how do you get on with audio possibly picking up lens motor noise?
  10. I think in some cases you don't absolutely need cinema glass. It depends on your situation, and if the lenses work well for you. It will be interesting to see with AF which of the originally still camera companies like Nikon manage to make a system that works really well with video. Just need to do a lot of research. Those AF stills lenses are terrible for manual focus, the ones I've tried. They have internal motors and very short and clunky travel. And no aperture ring.
  11. https://www.behance.net/gallery/74380941/life-station
    My first project. It would be nice if you check it out

  12. I wonder if prices will eventually go up across the board - including the old MOS models eg. Arri II. Is it a case of get back in while you can?
  13. My .02 cents are worthless because 1) I absolutely hate autofocus and electronic lenses. Nearly all of them are made specifically for stills, not video. So they don't do what YOU want them to do. Plus, unless you spend a lot of money on lenses, nearly all of the mid-grade and lower-end lenses are very slow at focusing. 2) iFrame non-mpeg cameras are the only one's I even contemplate owning. Give me Pro Res, DNXHR, Jpeg2000, Blackmagic Raw, Pro Res Raw, Red Code or Arri Code any day of the week. Outside of Go Pro, which there is no alternative for, any camera I do work with must be a real codec. .h264/.h265, doesn't matter how good they CAN be, I can still see the compression and I absolutely hate that look. XAVC- I is OK, but Sony's support in Mac OS is horrible, they're still 32bit drivers, so it's just very slow to manipulate the footage. 3) I wouldn't own a camera that doesn't have some serious sound capabilities anymore, after owning the pocket cinema cameras and learning it's possible to buy shitty preamp's these days. The new Pocket Cinema 4k has excellent pre-amp's and mini-XLR input. It's the only camera of that size to have anything like that. 4) Where full-frame imagers are nice for those wide shots, they also limit what glass you can use. 5) Double ISO for the win. I don't understand why everyone isn't double ISO these days. It's a very clever design and it allows for a cleaner, more dynamic range image in the lower ISO's and higher ISO's without much compromise. Cameras like the A7SMKIII have a HUGE compromise in the normal ISO range, to get a decent high dynamic range image out of them, you have to use tuns of ND. They're really great for super dark tens of thousands of ISO stuff, but outside of that the A7SMKII and MKIII are just toys. I know a lot of people swear by them, but that's because they have the large imager look. They also have crappy .h264 8 bit 4:2:0 internal capture, which is so subpar these days. 6) Outside of PL, I'm so tired of the strict lens systems that most name-brand camera manufacturers require today. It's way better to buy a camera with a short flange distance that can adapt to ANY glass, then a camera with a fixed lens system. You spend all this money buying into a system and then 2 years down the road when the camera body is worthless and the manufacturer doesn't make anything good, you're stuck with it. I've run Arri B, PL, Nikon, Canon and C mount glass on my Pocket camera. Plus, nearly all of the modern glass made for those name-brand systems, aren't designed for cinema in any way. You NEED CINEMA GLASS TO SHOOT VIDEO! 7) There is a happy medium that Panasonic figured out years ago in imager size. Full frame imagers require a lot of power, so the full frame still cameras always have some sort of got-ya's when it comes to shooting video. Poor codec's, poor audio, shorter recording times, etc. If you reduce the size of the imager, you can decrease the amount of processing power it takes to drive it. Panasonic was the first to come to market with a hybrid still/video camera using the 17.3x13 imager size (the blackmagic 4k is 18.9x10 imager size) and it's a great size because it doesn't use up a lot of power, so the manufacturer can add a lot of functionality. Obviously, if you have a lot of money, you can buy an Alexa mini and not worry about most of these issues. However, when you're like me, broke and just trying to buy a cheap camera and lenses, you have to be very mindful about these things. You have to wave each issue I pointed out above and see which ones have the most merit to you. These are the things I care most about, notice how slow-mo or camera size aren't in there. Some people need slow-mo, some people need a super small camera. For me, these are things I need based on my experiences.
  14. the rental houses got bored of having them lie around, they all went to private owners, and now film is hot again and the rental houses are trying to buy them back... along with everyone else.
  15. It sounds like a good idea, this would also give me time to decide on which camera. Thanks Aapo. If money was no obstacle, I'd be getting the Nikon Z6 as I THINK I really like the N-Log. I need something I can use in Resolve the same way I use my Blackmagic RAW files. By the way, I finally tested the 4K from the Canon M50. Wow what a fail. I don't mind the crop but the AF in that mode is a complete disaster. This is also why I don't want a GH5. It's interesting how many camera channels on Youtube use the GH5 or GH5s and they never seem to switch to anything else even though they title their videos to "Why I switched to Canon/Fuji/Nikon/Sony" etc. Like DSLRShooter. Does Panasonic still make you pay more for V-Log? Pfft. Another reason to stay away. @Tyler Purcell opinions?
  16. I'm trying to work out how to colour match a C300 Mark II and the Arri Alexa Mini. I am using the Production Gamut on the C300 which is supposed to be a pretty good colour match for the Arri (https://www.newsshooter.com/2015/10/08/canon-c300-mkii-is-the-image-worth-the-price/), but I'm getting wildly different results. https://photos.app.goo.gl/5KemGgz2HCpVCuY9A This album has 4 photos. On the bookshelf, the first is the C300 and the second is the Mini. On the girl, the first is the Mini and the second is the C300. As you can see, the C300 does definitely have a Magenta shift, and in general the Arri image looks better, but definitely has a green shift in the whites. I think her skintones look nicer in the C300 too. Both cameras have exact same settings in terms of ISO, exposure and shutter. Does anyone have any ideas??
  17. Nice work! Love the lighting and the whole look. Dragged a little for me I speed up the last half. Only thing I would change is for the mom's boob to flop out when she is under the bed. I see you got a big team on it. I was going to say you got talent. But will have to say your team has talent.
  18. Depends if "middle of the jungle" means a treacherous 12 hour approach, or if you can drive to your base camp. You can't fly with a large Li-On power pack like a goal zero, so you'd have to organise one on the asian end. Also depends on your power needs. If you're running a camera that takes LPE6's batteries vs bigger Dionics etc. You could probably get away with a solar unit that you charge from from overnight, then let it charge during the day. I use a Goal Zero Yeti 1400, which could easily power a laptop and charge dozens of camera batteries for about 10 hours straight then recharge itself from it's solar panels in about 8-10 hours. However, be caution that batteries with inbuilt software (or whatever it is) sometimes don't like being charged off them.
  19. Selling the following used package but like-new as it was purchased Sept 2018.ARRI Alexa Mini Package = USD 47600ARRI Alexa Mini Viewfinder with Viewfinder cable and eyecup = USD 7460ARRI PL LDS mount with L-Bus connector = USD 17503 x Cfast 256GB Card = USD 20701 x K2.0001242 Codex CFast2.0 card reader = USD 370Above list prc less 15% discount. $50,515.50 USD. Please PM if interested.Thanks,Norm
  20. That may be relatively easy to solve because you have lots of potentially incompatible lenses. 1. Sell the incompatible lenses you currently have and use the money to buy the camera body or if the shop allows you can directly trade them in for the new camera body 2. Purchase the new lenses with financing, you can surely find a shop which allows that 3. The end result the same but easier to manage the financing options
  21. I would top light it with the Kinos and send some hard light through the glassware from behind.
  22. You could just bring enough batteries for the duration of the project and tweak settings in your laptop so it consumes the least amount of power possible. Also, you could use only SSD media to cut down even more on laptop battery use.
  23. Here is an old timer on film and projection. (22 min) You should make a section on the forum where we can put films or snips of films not looking for critique...just to share. These 'projection' films are pretty rare from what I can tell. Although I've only been around 16mm for a few years I've looked through over 10,000 reels of 16mm and many thousand reels of 8mm and have never seen any of the actual films on these subjects. Only digital copies.
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