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For sale. Carl Zeiss LWZ.3 21-100mm Cine Zoom Lens Includes: 21-100mm, T2.9, PL Mount, feet scale meter scale E-Mount Canon EF mount 15 mm bridge road 15 mm carbon roads case Very Good condition. Asking USD 6,900 Ship to worldwide at buyer's expense.

bump pristine condition 13000 euro

bump 3000 euro

bump 800 usd

bump 3800 euro

bump still on sale

bump 3700 euro

My salad days / When I was green in judgment “His punishment,” the Duke pronounced, “must exceed death.” So goes James Shirley’s The Traitor (ca.1631). The Duke of Florence continues : First apply all tortures To enforce confession who are his confederates, And how they meant to murder me. Then some rare Invention to execute the traitor, So as he may be half a year a-dying, Will make us fam’d for justice. (1.2.29–36) “tortures” + “execute” = “justice”. —a John Webster–approved™ portrait of our everyday overlords, which prompts friendly Scroob to recall a fairy-tale notion from long ago : Gratiana. And by what rule should we square out our lives But by our betters’ actions? (Revenger’s Tragedy, 2.1.152–3) and this, from another aggrieved mother like Gratiana— Cornelia. The lives of princes should like dials move, Whose regular example is so strong, They make the times by them go right, or wrong. (The White Devil, 1.2.280–2) * Brian De Palma and John Webster The story structure of Femme Fatale (2002) ensures that the audience is kept relentlessly one step behind—i.e., not yet able to piece things together. The Situation of one step behind is intrinsic to The White Devil, in which (for example) characters repeatedly, and deviously, act out roles in front of other characters (and therefore before the audience), before everyone understands that the character is fooling everyone. Earlier in this thread Scroob realized that No Country for Old Men is a cinematic masterclass in the three audience modes of (1) one step behind the narrative; (2) consonant with the narrative; (3) ahead of the narrative. One step behind prepares an audience for surprise. (Femme Fatale’s American embassy and Lou de Laâge’s workplace in Coup de Chance are the same building in Paris, but let’s move on.) Brian De Palma’s Femme Fatale maintains the audience in a surprising state of one step behind from first frame to last. * R-rated talk in The Traitor : Sciarrha. Are all the brothels rifled? No quaint piece Left him in Florence that will meet his hot And valiant luxury, that we are come To supply his blood out of our families? Diseases gnaw his title off. (2.1.12–16) cf. Caligula 36. non temere ulla inlustriore femina abstinuit. . . . uel laudabat palam uel uituperabat, singula enumerans bona malaue corporis atque concubitus. (36) “There was virtually no woman of distinction he kept away from,” writes Suetonius. After an idle dalliance, Caligula would address the humiliated husband in front of dinner-party guests and “either praise or criticise her, enumerating the good and bad points of her body one by one, and her sexual performance.” * οὕτω τοι Πολύφαμος ἐποίμαινεν τὸν ἔρωτα μουσίσδων, ῥᾷον δὲ διᾶγ᾽ ἢ εἰ χρυσὸν ἔδωκεν. Theocritus, Idyll 11 Polyphemus, then, soothed his broken heart with song, and stayed cool-headed even without his darling.

Wow, I have a Zoom F6 and just now see it can capture at 192 Hz, so it can be slowed to 48 Hz. That would give 1/4x and match the 100 fps slo-mo. So I would switch the recorder to 192 when filming 100 fps. Then sync to a clapper. Does that make sense?

Yes! The problem being the Z Cam cannot produce at least one of its claimed framerates when exporting RAW out of HDMI. So mismatch of capabilities. So far, only one completed project has a slow-motion clip, with diving ducks running on the surface of the water before flying. Since we couldn't pick up their splashing sound, we used simulated sound and stretched it over the timeline. The distorted (stretched) sound worked really well. How does one sync slo-mo sound being cameras and TC devices peak at 30 fps? I realize Tentacle desktop apps can recalculate timing for at least 50 and 60 fps footage. Further dev of the Windows version was discontinued in 2021 for some reason. We have four Tentacle Sync Es, one for a recorder and three for the cameras. This is our first attempt to record slo-mo audio and I don't know where to start. I understand the idea that playback speed is metadata. e.g. variable framerate

Matthews Grip makes 40x40'' steel frames for less than $50 that will fit in your car and you can skin with whatever you'd like. You may need to make your own fabrics or have them made since it's an unconventional size. https://www.bhphotovideo.com/c/product/144511-REG/Matthews_539190_40x40_Cutter_Frame.html

The reflective surface on a CRLS panel is aluminium, which has a very flat reflectance. I doubt you'd ever see an issue unless it was horribly contaminated with something.

Another thing to keep in mind if you can, is the time of day to position the sun so that you don't need to have it in frame. Obviously, the sun will be a huge specular highlight, but also any buildings or clouds that are blocking the sun will have a bright rim that will push your camera's dynamic range. If you can shoot with the sun at closer to a 45 degree angle from the camera, it should clear the frame and still give plenty of contrast to the landscape. Time of day is huge when shooting with the sun.

Hello, Eight or nine years ago I read a novel with a counter-terrorist hero having a chat with some NYC cops. It was a quiet moment (I don't remember the Title or Author's name) but one of the cops tells this joke: Jeffrey Dahmer's mother was having dinner with her son at his apartment. Hoping to enter a heart to heart conversation with her son she says, "Jeffrey, you know I don't really like your friends," Before she can continue, Jeffrey says, "That's OK mom. just eat your salad."

@Jon O'Brien, Provided you were hired to document this performance and got there before it started, it may be worth carrying some in-line dimmers in your kit for situations like this. Oftentimes lamps/bulbs are bought without thought to the output and more the aesthetic style. I'm sure since the room was filled with daylight she would have still been able to see her music just as easily. Carrying a few in-line dimmers would give you a bit more flexibility on any jobs you have in the future. Cheers

I cannot answer directly. But my understanding is that a reflector beeing neutral or not mainly refers to white light or wide spectrum sources. For a saturated color with limited spectrum, a non neutral reflector would juste change the amount of light reflected, not its spectrum. So if you plan to use colorful gels, I guess it will not be much affected by slight inaccuracy of the reflector.

ARRI Alexa SXT Plus Camera Kit For Sale LOW HOURS: ONLY 1,544 Asking US $11,500 Pricing this awesome camera for a quick sale - funds needed for another project. IMHO, the Alexa SXT is the best value to get into the Alexa class of image quality. It can do Open Gate (great for anamorphic) and ARRIRAW. It does the internal upconversion to ProRes UHD just like the Mini and Amira, but can offer some higher frame rates than those two (or the previous generation Alexa XT), and can do longer record times than any of those cameras with the 2TB Codex Drives. It's a great option for a B-cam (or A-cam) to a Mini or Amira, and this kit includes the adapters to use the same Cfast2.0 media, the XR 512GB Codex media, or the SXR 1TB/2TB Codex media. The slightly newer SXT-W only adds size/weight to include non-removable wireless video transmission hardware to the back of the camera that most shoots won't use. This camera was previously part of Arri Rental NY's fleet and has very low hours - only 1,544. I paid AbelCine (authorized Arri service provider) to perform an evaluation in February of this year, and unsurprisingly it had been well maintained and AbelCine said "No service recommended." It hasn't been used since. An image of that evaluation is included with the pictures of the camera kit. Included: - Arri ALEXA SXT Plus Camera Body *Only 1544 Operating Hours* - Arri PL Mount - Arri PL Lens Cavity Cover - Electronic Viewfinder EVF-1 - ARRI KC-150-S Short (1.2 ft) Cable for EVF-1 - ARRI KC-151-S Medium (2.1 ft) Cable for EVF-1 - Viewfinder Mounting Bracket VMB-3 - ARRI MVB-1 Viewfinder Mounting Bracket for ALEXA Camera - Centre Camera Handle CCH-1 - Bridge Plate Adapter BPA-2 - ARRI SP-4 Shoulder Pad - ARRI Alexa BAB-G Gold Mount Battery Adapter Back - ARRI 24V Camera Power Cable (x2) - Core SWX Cube 24 Industrial Power Supply (200W, 24V) with AC power cable - ARRI Alexa Camera Antenna x2 - ARRI LMS-3 Low Mode Support - ARRI BP-12 Bridge Plate - Elements 12" Arri Dovetail - ARRI Codex XR Adapter/Yellow for Codex XR 512GB Media (media not included) - ARRI Codex SXR Adapter/White for Codex SXR 1TB/2TB Media (media not included) - ARRI Codex Cfast 2.0 Adapter for SXR Module (media included, see below) - Lexar 256GB Cfast 2.0 Card (3600x 540MB/s) x2 - Angelbird CFast 2.0 Card Reader - USB 3.2 Gen 2x2 (USB-C) with 20" and 40" cable. - Fitted Shipping Case Located in NYC. A local buyer who can come check it out and pick up would be preferred, but I will ship if buyer covers shipping cost and full insurance (preference for US-based buyers). Please keep in mind, it's a heavy case, almost 65 1/2 lbs. The only damage worth noting - the case has a very small crack in the top lid (pictured). Payment by Zelle or wire transfer with buyer covering any fees. More & Higher Resolution Pictures: https://www.flickr.com/gp/95212445@N02/r4F4MA4Tk4 Some technical info about the SXT: https://www.arri.com/resource/blob/41634/b1379eeeabbdc8b194a2af2dae68fee7/download-camera-alexa-sxt-crib-sheet-data.pdf Please let me know if you have any questions.

Both camera and lenses SOLD.

Yes. I loved what I saw of the UN54. But test them all. Unfortunately I didn’t get to do all that I wanted to in my tests as I ran out of time.

this has become a really interesting thread indeed. I also really like the look of it. As a stills photographer I can test the film for stills haha....so which would you recommend I try Mark? you mentioned the UN54 looks great? https://www.orwo.shop/collections/photo-films

It is double the price of v3, which is a shame, because I really like the look of it.

Hi everyone. I have several Bolex 16mm cameras, two of them are H16 EL, which I would like to convert to S16. So far I have contacted the Les Bosher laboratory in England, but from what I read on another forum, it seems that recently, many people who sent them their Bolex cameras for this conversion, then never went back... I've been trying to contact Bolex in Switzerland for a long time (it would be the best choice), but it seems they have closed their business... So, I'm looking for a good, serious and reliable laboratory that can carry out this conversion, possibly in Europe. Furthermore, I would like to know some laboratories that can offer qualified technical assistance on these cameras. So, I have these two questions: Someone know a serious and reliable lab that can convert Bolex camera to S.16? And any qualified laboratory, that offers technical assistance on the same cameras? In both cases, preferably within Europe (but if that's not possible, also in the rest of the world). Thanks.

So there was a typo, I meant I have 2* 1200d aputure. But I can swap them for something else if it’s not going to work for this. I am not creating the look of the second image it’s just a reference of how they’ll be seated. The top image is only the look I’m trying to create. Not sure if 12x12 from above would be enough for 8 people, I haven’t used it before or maybe a double 8x8.

ok so it was Atomos framerate vs camera framerate mismatch, great that you found the issue! When you are shooting slow motion and there is no sync sound, your destination framerate vs the recorded file framerate does not matter at all. You will just change the rate in interpret footage settings (premiere, ae, etc) or clip settings (Resolve) to match the playback framerate to the project framerate you are finishing with. The end result will be the same you wanted if you recorded 120fps stored to 25fps file vs 120fps stored to 48fps file etc. when the playback speed of the clip is set to your target (for example 29.98) when editing the project so that all the frames are played back intact and no frames are skipped or interpolated or blended (which happens if the playback framerate does not match the project framerate). Playback speed of the recorded clip is just metadata, it is not set to stone and on most video files it can be altered on the actual raw material too by altering the metadata of the file. the actual video data stays always the same, you just tell it to play back at different fps. same thing in editing programs, you just tell the program that "this clip which the camera marked to be 59.94fps is wanted to playback at 24fps" and that's it. The clip becomes longer in seconds&minutes (because it plays back less frames per second) but there is no artifacts because no one is altering the actual video frames, just playback speed

Hopefully the test done with candles will be made public. Lots of blacks and contrast.