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Sam Martin

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Everything posted by Sam Martin

  1. Check out our new reel video gallery. A lot of interesting MoVi M10 work! http://decodeuk.com/information/recent-work/
  2. http://<iframe width="560" height="315" src="//www.youtube.com/embed/y_rOdK3aiVM" frameborder="0" allowfullscreen></iframe>
  3. ​HI there. MoVI M10 rigs available from London based rental facility, DECODE, in UK. Operators or technicians provided with all rentals. Please call or email to discuss requirements. http://decodeuk.com/kit-hire/grip/stabiliser/freefly-movi-m10-rig-with-one-technician/ http://decodeuk.com/kit-hire/grip/stabiliser/freefly-movi-m10-rig-with-2-technicians/ Samuel Martin DECODE 3D, HD, camera, grip, lighting, studio, edit suites hire.. London, UK Email: sam.martin@decodeuk.com Web: www.decodeuk.com Tel: +44 (0) 2087359170 Fax: +44 (0) 2087418952
  4. ​HI there. MoVI M10 available at DECODE, based in London, UK. Operators provided with all rentals. Please call or email to discuss requirements. http://decodeuk.com/kit-hire/grip/stabiliser/freefly-movi-m10-rig-with-one-technician/ http://decodeuk.com/kit-hire/grip/stabiliser/freefly-movi-m10-rig-with-2-technicians/ Contact details: Samuel Martin DECODE 3D, RED, HD, broadcast camera, grip and lighting rental services. London, UK Email: sam.martin@decodeuk.com Web: www.decodeuk.com Tel: +44 (0) 2087359170 Fax: +44 (0) 2087418952
  5. And don't forget the insurance implications. Whatever way you decide to do it, make sure you have public liability, employers liability, equipment insurance in place and cover for accidents. If you go through the proper and recommended channels you will be asked to produce one anyway. If you decide to go guerrilla style, well, you can get into major trouble if anything happens.... And running around with expensive gear while being chased is something prone to falls and injuries...
  6. Yes you can but it is like going onto a race track with a F1 car or a Ford Fiesta. 35mm being the F1 car and the Canon 5D MKII a Ford Fiesta. You must expect the results to be miles apart in all senses. Have you considered something in the middle? Possibly getting a quote on a RED camera? But again, if the budget is tight and you have to go with the 5D, please ensure you spend the money in a really good DP that is willing to be flexible and work with that camera. He is the one person in your crew that will get the best out of that camera and will inspire everyone around him. And trust me, if what you shoot is good nobody will care what you shot it on (audiences I mean)
  7. I wish things like that actually happen.. Wouldn't it be nice..
  8. EX3 if you can afford it. Canon 5D is also really cool. Those would be my 2 recommendations...
  9. Do you need anything in the UK? We can help you if that is the case...
  10. Magliners are the way to go. We have many of them, always reliable and never had any problems!! They are a piece of kit I never have to worry about...
  11. The HD/SDI recording, bypassing the HDV/ P2 encoding, will render much better images. Go down this route if you have the right tools to do it for your job. You'll be impressed with the results, just as Phil's test footage shows....
  12. I would choose the HVX200 any time. Older camera, just as good, but because it is an older camera you'll be able to get a better deal from the rental house....
  13. I have to totally agree with you on this....
  14. Decode can help you out. Give me a call on Monday next week. Do you have dates and equipment breakdown? Sam Martin Decode http://www.decodeuk.com
  15. The 5D is a great camera, just like the EX3 but in terms of image quality and resolution, the RED camera destroys them both. If you can afford it in your budget and have the post workflow in place, go RED all the time. Now the 5D is great for small spaces, short budgets, internet delivery..... You can get some cool looking images with oth EX3 and 5D and make it look like high end camera.... The ability of using 35mm SLR lenses with a lightweight camera is also really cool.. Sam Martin Decode http://www.decodeuk.com
  16. Have you tried ringing RED directly and ask them? Ring RED Europe in Pinewood studios on +441753 785454 and ask for Alan Piper and he will most likely be able to asses your problem over the phone. Also make sure you don't have any of the shortcut buttons on the evf selected to any of the viewing modes, have to tried to reset the camera to factory defaults? I hope it helps. Regards Sam Decode http://www.decodeuk.com
  17. We had a massive problem with our ISP over the weekend but it is all now solved and working. Let us know if you want to come along for a test. Check this other picture for one of our full production kits http://www.decodedigital.co.uk/movietube/M...tubeFULL_ST.jpg Regards Sam
  18. We had a massive problem with our ISP over the weekend but it is all now solved and working. Let us know if you want to come along for a test Regards Sam
  19. Actually Stephen, I've been on the phone with the supplier and the $14900 includes the lenses with PL mount and modified with focus gears. I think this is not such a bad deal after all. What a day today! Our little wonderful assistant might have found a set of of T1.3 that need to be purchased quickly so we might actually buy both sets. After all we will be constantly using them. I can only imagine the massive amounts we are going to save just by having our own sets.... The main use of these lenses for now will be on the several 35mm adaptors we have for hire and we've been told that as there is so much glass involved with these adaptors that by the time the image is recorded on camera you wouldn't really appreciate any differences from 1.4s to 1.3. Only when dealing with film cameras you might notice the difference.... I guess there is a strong point there....
  20. The whole point of going PL mount instead of BNCR is that we are purchasing s few large HD cameras later in the year, may be even a red camera as well, and having the PL lenses means we would be able to use the lenses with those cameras as well. It is a bit of a future proof decision really. I am fully aware that going through a reseller will up the prices a bit, but it is difficult to find second hand PL mount lenses from individuals, and we can't really wait for months to put a kit together.... I seem to be getting a lot of feedback on the price, but how about the quality of the lenses? Are they worth it? Cheers
  21. Hi Stephen: A set of second hand Zeiss T1.4 18,25,35,50,85mm is $14900 with 6 months warranty & labor + a 7 day money back guarantee (we're based in the UK so I'm not sure how much use we can do of the 7 day but at least it's there). They will throw in a 135mm (I believe T2.1) for $3000. What do you think? I beleive a set of T1.3 would be around $4000/$5000 more. Is the difference between these two type of lenses so noticiable? Should we go for them? Wait until we come across better lenses? Cheers
  22. Hi Michael: What it is is that they are a type of lenses we have never used, so we would like to find out whether this would be a good purchase or we should wait to come across a set of T1.3. We believe the set is good but would like to hear what people who have used them have to say. We don't want to end up with a load of glass that isn't good enough.... Cheers
  23. We are planning to use them with some of the 35mm lens adaptors we have in our shop, the Movietube, so whatever lenses we get they have to be fast. So far we have been on video land and this is the first time we are blowing serious money on film lenses. We are asking around some of the DP's we know, but the more info we can get the better. We are a little afraid we might end up with a set of lenses that are not quite as good as what we could get by spending a little bit more. Should we look in a different direction? The Zeiss T1.3 is what we've been using so far (cross hiring) and everybody loves them. We need to get our lenses because we are bleeding money by cross hiring, so the T1.4 seem to be a good option and available for a quick buy.... Are we making a huge mistake? Thanks
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