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Samuel Berger

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Everything posted by Samuel Berger

  1. If anything I think there's probably not enough money to light the backgrounds and that's what's making it look more like a drama show.
  2. YAP (Young Actors Project) from Canada regularly outputs content on Youtube shot on a Canon C200 with Canon lenses, mostly a 70-200 2.8 and a 24-70 2.8. Latest from them is this: I can't help but feel there is something wrong with the lighting, that doesn't quite measure up to what they're trying to do, which is Disney Channel style sitcoms. It could just be there's too much contrast. Maybe not enough fill?
  3. Did they steal a car with it? Because that sounds like a lot to just swing on your back and take off. What kind of French guys? Descriptions?
  4. Looks like Netflix allows the C200 in some cases. https://ymcinema.com/2019/04/18/canon-c200-is-netflix-approved-only-when-shooting-raw/
  5. I'm wondering about IBIS, does it have any? Never bothered to look.
  6. It's not, I'm trying to get $1400 for it because it cost me more than that and I sent it to Bernie for service, etc. So even if I magically got my asking price, I'll still be losing a lot of dough. But like you said, sunk cost is a fallacy.
  7. Yeah, it's pretty much useless for me, I'm never buying a PL mount camera again.
  8. Yes, that's how I used it with the Ursa Mini and Arri 2C. I also had the lens serviced by Bernie O'Dougherty.
  9. But it is PL with the adapter. That footage I shot with my Ursa Mini PL was shot with it. Works perfectly.
  10. Like the title says, Should I sell my Angenieux 25-250 by itself or with my Eclair NPR kit? I think it would add value to the kit, but I also know that I could probably sell it faster by itself. I have an Eclair NPR Ultra 16mm package that I need to sell as soon as possible. It was easy to sell the Ursa Mini 4K but this will be a harder sell. The zoom is actually for 35mm cameras, has an Arri B mount, I used it on the Arri 2C and the Ursa Mini with its PL adapter. So I could see folks being interested in buying it by itself. Just wondering what anyone thinks.
  11. I think it's not necessarily cheaper to film digitally because there are so many variables involved. You have to know what project and what budget and you have to have good business sense, which I think a lot of artists seem to lack. When you say "shoot digitally" you could be talking about shooting with a smartphone or an Arri Alexa. When you say shoot film you could be talking about using a Kodak Instamatic Super-8 or Panavision cameras. Right now I think you just need to use what you need to get the product done. My biggest regret was investing in film gear for a project that could have been done on a first-gen BMPCC. The film didn't get done and now it never will be. For my next one I'll start planning on shooting digitally from the beginning, using my Canon EOS R. If I ever make any money then I can move back to L.A. and shoot film all I want, but since they closed down Alpha Cine here in Seattle, it's just not realistic to work blindly with film.
  12. Sharp came out with an 8K instead. Experimental, however.
  13. Welcome to the forum, I've been to Bulawayo but it's been a very long time. We didn't go west very often, we mostly used to take the train from Salisbury to Umtali and then on to Beira for vacations. Wonderful times, now long gone! It's great to see someone producing film over there! 🙂 I'm really happy to hear from you! What are you shooting with?
  14. Sold. I kinda wish it hadn't, but.... Macks Fiiod had a few interesting thoughts on "sunk cost fallacy". 😉 @Max Field / Macks Fiiod
  15. MUST SELL THIS WEEKEND! PRICE LOWERED TO $1200!
  16. Now on my sister's eBay store: https://www.ebay.com/itm/223473085578
  17. (This sale is for the camera body only, no lenses or accessories.) image hosting
  18. I need to sell some of my items urgently. Today that's the URSA MINI 4K PL selling for $1300! We made this commercial for it. The "product shots" were done with a Canon M50 but all the other footage is from the ursa Mini 4K PL. You get the camera body and power cord. Works great and going CHEAP!
  19. Well the problem nowadays is the slower turnaround for most of us. There are fewer labs and the wait can induce anxiety. And then there's the individual situation of each filmmaker. If it were up to me, I'd always shoot film. But it's not my current reality even though I have plenty of professional 16mm gear.
  20. The following came from Stefanie Daniella: i disagree with your apologetic negative position. i had long pointed out the EOS R is a mini-EOS C700FF/C500/C300/C200 Cinema camera. All of the EOS Cinema cameras are speedcrop capable, especially the EOS C700FF. The huge Professional EOS C700FF has plenty of 1:1 straight-read speedcrop modes, using only a portion of the image sensor, but Canon's prosumer EOS 1DC, 1DXMKII, 5DMKIV, and R, and RP, all have their unique 1:1 straight-read speedcrop mode: 1DC: 1.266x 4k dci + 1.350x (16:9) 3.8k 1DXMkII: 1.336x 4k dci + 1.425x (16:9) 3.8k 5DMkIV: 1.641x 4k dci + 1.750x (16:9) 3.8k EOS R: 1.750x (16:9) 3.8k EOS RP: 1.63x [1.625x 1.003x] (16:9) 3.8k EOS M50: 2.522x [1.5625x 1.614x] 3.8k In order for C700FF to get 1:1 straight-read: it runs 5.95k dci FF, it's a 0.945x factor-wide, and only lower-rez 4k/2k dci is "downsized oversampling" full-sensor-width it also runs 5.58k 16:9, it's a 1.008x speedcrop, and only lower-rez 3.8k/1.9k (16:9) is "downsized oversampling" crop-sensor-width and 1:1 straight-read speedcrop modes with 2.748x speedcrop 2k dci, and 2.927x 1.9k (16:9) fhd or other EOS C700/500/300/200 run in various other S35 speedcrop modes: C700 S35: 1.343x 4k dci C500/C300/C200/C100 (S35): 1.374x 4k dci C500/C300/C200/C100 (S35): 1.463x 3.8k (16:9) Others like Sony's CineAlta Venice FF have 1:1 straight-read 1.4815x speedcrop 4k dci, and 1.5789x speedcrop 3.8k (16:9), too; which is its default "already-paid" feature; in order to use higher 1.003x "no crop" FF 6k or 1.068x 5.7k, one must pay EXTRA $$$ for license to enable it! Unfortunately, Sony's consumer Alphas do NOT get true 1:1 straight-read speedcrop 3.8k 16:9 (4k uhd), and only get amateurish toy low 100Mbps (excessively) "downsized oversampling" from overhyped "full-sensor-width" (as if it's superior to 1:1 straight-read!!!); with such amateurish pedestrian 100Mbps, colors are worst in 3.8k possible. And consumer Sony Alphas avoid faster higher Mbps because it already is premature overheating-prone at only 100Mbps! (It's woefully poorly heatsinked floating jiggly-shuttershock-prone sensor-shift based IBIS is needed, because Sony has WEAKEST almost-live-view almost-autofocus in the "mirrorless-only" industry.) Even when Sony Alphas "downsize oversampling" on full+crop-sensor-width modes, it's never 1:1 straight-read either: too much image processing is WASTED TOSSING RESOLUTION to get downsized to 3.8k and 1.9k!!! A9 is the only 1.200x speedcrop 1:1 straight-read, but at amateurish toy-like pedestrian low maximum 100Mbps, too. (useless in sony users hands). Anyone familiar with advantages of higher speedcrops, knows one can have wide-angle FoV with proportionately high speedcrop factor brighter faster aperture with deeper dof that produces MORE DETAIL than "no crop 1.0x" 3.8k "full-sensor-width" heavily downsized oversampling from 6k, 7k, tossed to get only 3.8k or 1.9k!!! The easiest way to compare "Fov+DoF" (like-vs-like), one can use the popular 10mm FL lens across all possible speedcrops on cinema cameras, to demonstrate advantages of faster brighter deeper dof more detailed 3.8k (4k uhd) 4k uhd (3.84k) Deep DoF: 1.5mm Aperture Diameter (compare EXACTLY same dof-vs-dof) Comparing EXACT same FoV-vs-Fov (Exact same AoV-vs-AoV) 10.0 mm 1.750x speedcrop = 17.5mm F6.67 FF.FoV EOS R (480Mbps) 5.36um = 1.750x brighter faster f-stop!!! 17.5 mm 1.000x "no crop" = 17.5mm F11.67 FF.FoV Sony Alpha FF (100Mbps) 4.5um or 5.93um ... 1.750x darker f-stop !!! 10.0 mm 1.63x speedcrop = 16.3mm F6.67 FF.FoV EOS RP (120Mbps) 5.76um = 1.63x brighter faster f-stop!!! 16.3 mm 1.000x "no crop" = 16.3mm F10.86 FF.FoV Sony Alpha FF (100Mbps) 4.5um or 5.93um ... 1.63x darker f-stop !!! Pick ANY/ALL other of your Favorite FL for SAME FF.FoV, and you face SAME speedcrop advantage! ANOTHER EXAMPLE! 24mm FF.FoV: with highest detail for 4k uhd (= deepest dof) = 1.5 mm aperture diameter!): like-vs-like (Exactly SAME FoV+DoF) 13.7 mm 1.750x speedcrop = 24.0mm F9.1 FF.FoV EOS R (480Mbps) 5.36um = 1.750x brighter faster f-stop!!! 24.0 mm 1.000x "no crop" = 24.0 mm F16.0 FF.FoV Sony Alpha FF (100Mbps) 4.5um or 5.93um ... 1.750x darker f-stop !!! 14.7 mm 1.63x speedcrop = 24.0 mm F9.8 FF.FoV EOS RP (120Mbps) 5.76um = 1.63x brighter faster f-stop!!! 24.0 mm 1.000x "no crop" = 24.0 mm F16.0 FF.FoV Sony Alpha FF (100Mbps) 4.5um or 5.93um ... 1.63x darker f-stop !!! Ditto: ALL FL (All lenses) covering IDENTICAL FoV+ DoF! (Pick ANY Favorite FoV and Favorite DoF Aperture Diameters!) Higher Speedcrops offer MORE DETAIL (DEEPER DOF!) at FASTER BRIGHTER F-VALUES in PROPORTION to SPEEDCROP FACTOR! If you NEVER heard of "Speedcrop", that's okay, because it is a TERM that simply SUMS UP in ONE WORD, what's demonstrated in the above explanation. For EVERY/ANY/ALL Identical FoV+DoF "look" (like-vs-like) for MAXIMUM DETAILS (why 4k uhd is used instead over 1080p), lacking high speedcrop advantage ALWAYS means poorer Image Quality whether under bright lit or low-light lit scenarios, STUCK with darker slower f-values, thus the otherwise unnecessary need for longer slower shutterspeeds. By the time one hits widest-apertures of lenses, one is on the shallowest wider open apertures where the LEAST DETAILS is the norm; which defeats the point of even using higher 3.8k rez over lower-rez 1.9k (1080p). (If you don't "get it" ... then you're easy prey for the ludicrous hype of downsizing oversampling from either full-sensor-width or crop-sensor-width COMMON on other's 3.8k using toy consumer level low Mbps Sony FF/APSC Alphas, LACKING FASTER BRIGHTER HIGHER SPEEDCROP FACTOR ADVANTAGE. It's NO SURPRISE that SONYS cannot Autofocus properly with deep dof apertures, whether on CineAlta Venice or Alphas, using OEM Sony AF F/E Lenses!
  21. That's fine, bravely bold Sir Robyn. 🙂 Ironically none of this would have happened if the BMPCC 4K was available. I'd just have bought that and be done with it. In fact I think my Metabones speed booster from my BMPCC HD would work fine with it.
  22. I own a Sigma 18-35 Art and it's very noisy when focusing. I should probably include that as a criteria as well. I wonder which is quieter.
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