M Joel W

You only see it when they move quickly, because when they move slowly, the discrete samples blend together, which is what's happening with the LEDs themselves. I suspect if he whip panned over the LEDs they would show similar artifacts. I have had this exact same thing happen before with 60hz HMIs.

I’ve had this happen with mag ballast HMIs and other 60hz sources like sodium vapor etc. It’s 60hz lighting and 24fps so that's something like 2.5 discrete sine waves per frame or I don’t know the terminology. But the brightness (which I think correlates with area under the sine wave–chop up 60 sine waves into 24 pieces and I think the area under the wave would be consistent per sample regardless of where you start and end) is consistent frame per frame but there are 2.5 “samples” of motion blur per frame rather than a “smooth” blur like you’d get with a high frequency ballast or tungsten source (which is also pulsing but heat keeps it more consistent). Which is to say there's triple-edged (or 2.5-edged) motion blur, but it's consistent frame-per-frame. In theory a very very dim tungsten light might do this, too. I'm not sure if that's the case in practice, but this is why for HFR you want bigger tungsten units. Anyway it usually looks fine to me. If you’re worried about it, add some pixel motion blur or reelsmart motion blur but that will look more smooth in motion more like a 360º shutter angle. I would leave it as-is.

Want to try this with an Iscorama to see if I can shoot S16 anamorphic. I can't pay too much since this is just for an experiment without immediate commercial prospects. Would also pay $100 (plus shipping both ways) to borrow someone's lens. Also looking for a 25mm t1.3 Mk 1 S16 super speed if anyone has one.

I haven't found that to be the case in the US. I've seen Primos and T Series on some pretty low budget productions. No idea how they ended up there, though, someone might have known someone. Also, I only wish Blade Runner 2049 were shot on C Series. But apparently Roger Deakins (and the Academy) know better than I do... Speaking of Panavision, I'm pretty sure I bought one of their old 4:3 Alexa Plus models on the used market. Branding was presumably removed specifically so I couldn't find out, but any way to figure out what blockbusters were shot on the camera I now use to make home videos based on its serial? Secondly, I know of the 2x Panatar for 16mm, but did you ever stock a 1.3X anamorphic lens set for S16? I'm looking into "budget" alternatives for the V-Lite 16s.

That’s reassuring to hear! I don’t know where I came up with the extra .02 part. I think I should just take the plunge and buy a Kinetal and try it. There are other weird options like an Iscorama 54 and Rokinons, but sometimes the rabbit hole is too deep. Are there any alternatives to V-Lite 16? Did Panavision make an S16 1.3X anamorphic at one point?

I've posted this same question twice before in some form or another and apologize for repeating myself. But I'm curious if anyone has tried this combination. The 17.5mm I suspect should cover and I have a wide angle adapter (the same one I think people use on Kowas) that would bring that to 14mm, which is wide enough for me. But I'm not sure it would cover without trying it and am hesitant to buy such an expensive lens prospectively with no other use for it. The Schneider 18mm f1.8 Cinegon doesn't quite cover, but it has 82mm front threads so it's an odd fit. I tried a 16mm Mk 1 standard speed and 16mm f2 Cinegon and they did not cover but the standard speed was very close. So I am curious if anyone has tried this combination. I suppose the other candidate is the 18mm Kinoptik, which is even more expensive. I think the Iscorama is actually a 1.42x stretch. So this is 2.35:1 exactly on S16. I think a dumb PL or Aaton mount adapter would lock the Kinetal at infinity, a problem for normal use, but this is desirable if shooting with an Iscorama.

I've heard Elswit I think does something similar. Hard key and soft "fill" from the same side.

Thanks! I like the look of them but there is something absurd about it too, kind of like the Veblen good Leica Thambar. Part of me gets it. I have some cheap old lenses that have a look I like but the mechanics are poor. And rehousing them would cost 3-4x the value of the original lenses, but without being rehoused they're not really very useful. And there aren't a lot of fast large format ranges to rehouse in the first place. I've read that older double gauss designs used glass with higher indices of refraction (lead, lanthanum, thorium) and more steeply curved surfaces and so it would not be possible to manufacture them today. But then Cooke did just that, maybe with slight changes, but the Cooke Classics are apparently pretty close to real S2/S3s? I think I have noticed a trend where chromatic aberration has become more and more acceptable. S2s have every little, my old Leica lens has very little, and even my old 50mm f2 Nikkor-S has a noticeable lack of CA relative to newer designs.

Also what's the deal with PVintage? That's another one of these.

Is the 47mm Arri DNA a Kodak Ektar? The lens diagrams on Blackwing's website don't look that different from Takumars or Nikkors to me? What are the DNA lenses? A lot of the f stop/focal lengths don't match up with anything vintage. Is Arri mixing vintage glass with new glass or are they all new designs?

Reviving a really old thread, my apologies, but did you have any luck? 17.5mm Kinetal and Iscorama seems like it could be a great combination if it covers S16.

Going down a rabbit hole, curious to combine an Iscorama with 17.5mm Kinetal to get a 2.35:1 lens for S16. But not sure what filter threads a 17.5mm Kinetal has.

I was REALLY impressed by the Varicam LT when I worked with it in post, the EVA1 less so. Then the S1H less than that. There is some difference for sure. The best option is probably renting.

I agree. These cameras are all better than most of the content we put in front of them. It's only if you do a bad job lighting or are pushing the boundaries of the medium like Lubezki in Revenant (and have millions of dollars of post budget to relight your image) or something where the slight advantages of the Alexa become relevant. And it will always be obscenely power hungry and very heavy. On the other hand, film, Alexa, and even the newer Red cameras have a baseline "good" starting place, which not every cheaper cameras does, even though cheaper cameras have caught up technically. I own a 4:3 Alexa Plus and Aaton LTR-X and am shooting my next short on an EVA1. (But it does take a bit more work imo to get the colors I want from it. But a LOT less work on set.) Most of my work is in post, and that's another issue to consider. An Alexa is heavy on set, 6K raw is heavy in post.

Thanks, I appreciate it. I think I'll own fewer batteries and rent more when I need them. Got a steal on Hypercores from B&H but might return them unopened as it looks like I won't be shooting as much as I planned to.

Thanks again everyone. One last question (not just about Arri, but also Aaton batteries): how do I store these so they last, and what batteries can be re-celled and which can't? I don't shoot much, I have nothing lined up right now for either camera, but I like owning my own gear because I'm a tinkerer. I had a Ronin a few years back and sat on discharged batteries and they died. How do I keep my AB mount and Aaton batteries lasting a long time while in storage? Thanks.

I think that's right. The Gemini records raw but doesn't debayer.

Panther Cinar is sold. And the K3 I'm holding onto so I can see if it works.

The Angenieux zoom is sold. I also have a 16mm t2.4 Mk1 Zeiss Standard speed for sale $1200 OBO. Recently serviced, but cosmetically heavily worn. And a 4mm Bolex Aspheron. $10 OBO. 10mm f1.8 16mm Arri Standard Mount Schneider Cinegon $180 OBO (does not cover S16) 16mm f2 16mm Arri Standard Mount Schneider Cinegon $180 OBO (may not cover S16) S16 converted Krasnogorsk K3 with Meteror-5 zoom lens and 100 feet of film $140 OBO The K3 is for the adventurous, there appears to be a bit of fungus in the lens (currently sealed and hidden away from my other lenses) and the viewfinder is still 4:3 I think. The image in the finder is out of focus at wide focal lengths, which I suspected was due to a poorly collimated S16 conversion, but the person I bought it from tells me the focus marks on the lens are true and it's just the finder that's off. The wide end of the zoom doesn't cover S16. I've never used it. Well, it's a lot cheaper than a Bolex and seems to work well otherwise. Includes 50 feet of 250D film, which I got with the camera, and also can't vouch for.

I guess the OCT19 lens is $850 OBO. I'm located in the US.

Arri SR3 Book $10 shipped. Panther Cinar 35mm t1.3 S16 lens PL mount $1200 shipped OBO. 6mm Zeiss Mutar (for Mk 2 S16 Super Speed or 10-100mm zoom, I believe? It doesn't seem to work with my Mk1 super speeds) $800 shipped OBO. Arri B mount 2X extender $150 shipped OBO. Angenieux 17.5-70mm f2.2 zoom in excellent condition (possibly NOS) $1000 OBO. 43-86mm f2.8 Zoomar (for the adventurous) Arri B mount $250 OBO. PM for photos.

If I'm not mistaken the XT shoots 3.2k ProRes (upscaled slightly) and the Classic is limited to 2k (downscaled from approx 2.8k pixels). Of course not all lenses cover 3.2k. I believe the XT can also shoot 3.4k 1.55:1 ArriRAW.

Thanks, all. What do you do for wide angle on the Artemis? It seems it only goes to 22mm, not that wide?

Thanks, anything in particular you recommend?

Thanks, Brian. Any recommendations? I see the Sigma fp is being touted as a directors finder but my needs are actually pretty primitive. I just want something small I can walk around with that shows framing. I guess my only concern is I have a 16mm S35 lens and 9.5mm S16 lens I use sometimes but most directors finders seem to max out around 18mm S35 and 10mm S16. The ultra wide and ultra long stuff is not so important.