Adrian Sierkowski

I have seen the PL mount SLR for about $900, I think. It's @ the DoP Shop here and I was beaten to giving out the link

I think it depends a lot on how much you make from shooting. I most definitely do not make enough therefrom, so I have a normal, and very understanding day job as well.

Definitally a great shot. When it comes to the digital v film SLR range, I think that it is most definitely a matter of what you're shooting and when. I use both, often (Nikon D2, FM10, F4s, and a Leica M7). If I'm doing something where I'll be shooting a lot of still, i.e. a friend wants head shots or whatever, or a wedding (or anything else where I don't get comped the price of film), I'll pick up the digital. If, on the other hand, I'm shooting for me, and learning more about shooting, I opt for film. If anything, a Manual SLR will teach you discipline like nothing else IMHO. Especially because it costs so much for film and processing (though BH sells Fuji for around $2.19/roll). I learned on the FM10 and I'm so glad that when I did learn it was a time before digital stills . Also, the F6 is surely overkill.

If you ask such questions and worry about making a living on cinematography; perhaps it isn't the right job for you. check out this discussion, on an older thread, it'll give you a good idea of what it's like. It's a lifestyle, more so, IMHO, than a career.

Just wondering if this item is still around.

Much better. AFAIK the GL2 is not an HD camera at all; just a mini dv. The HVX records DVCPROHD on something called a "P2" card which simply gets plugged into a PCMI (i think?) slot on a laptop and can be imported into FCP without having to digitize the tapes. Also you can shoot miniDV or HDV on standard cassettes. For $5g about, it's a nice camera, though the P2s are expensive they are, of course, re-usable and do save you time on the whole log and capture frontier. See if you can find a local dealer and go try it out! Or even look to a rental house and see if they'll let you either rent it for a day or just take it to the packing lot and get a feel for the camera.

Amen to that Brian.

My deepest and most sincere condolences to you and your family.

Another camera you might want to look into would be an Eclair ACL. I shot on one, once, and liked it and thusly have heard mostly good things about them. I know Visual Products offers conversions and work on them (and they're nice guys. They sent me a package of mints and a little card with a shoulder brace i bought; nice gesture.) Check 'em out, http://www.visualproducts.com/. Of course, I have to admit, I wish I had the extra money to spring for a good old Bolex. Sounds like a machine gun on a WW2 tank, but such a wonderful camera.

I'm also going to chime in here and suggest picking up a kinda cheap film SLR, such as the Nikon FM10 (i've owned 3 of these cameras in my time.) Go out buy some film; color neg, color slide, b/w, in different ASAs (ISOs) and go out and shoot! Not only can you begin to learn composition but you'll see how color temperature effects a negative, how much information a negative can hold etc and you'll get a good idea how different film stocks differ. It's not going to be a direct approximation to cinematography, but it's a good sound building block, IMHO, and allows you to make mistakes without spending too much money (figure $10 for a roll of film and another $10 for processing; just shoot a roll a week!). Over time you can even start buying new lenses (I'm a sucker for the Nikon E Series F1.8 50MM), used from places like BH and learn how the focal lengths effect such things as DoF, etc. (Also a lot of people are using prime adapters on DV/HD prosumer cameras now, generally in a Nikon or a Cannon mount, so you'll also be amassing a set of lenses you can take with you on such shoots!) Just my 2 cents.

Thanks to anyone who was looking, but I tracked one down out in Ohio. :D

Hey everyone; I'm looking for an Arri Shoulder set (k2.41460.0 in the catalogue) or something similar for my Arri Sr3 Drop me an line if you have something that'll work! Best, ~Adrian

I totally agree that hiring should be based on talent not equipment, but if you are set on owning a camera, I would definitely suggest the HVX. I've shot both, and while they both can look amazing, I think the HVX might win out if only for the fact that it shoots a "true" hd format without tape. While you will have to learn a new workflow, like I did when I first picked it up; once you get it down pat, it can be a very versatile camera. Though I also found the HVX falls apart in low light. Owning a camera can feel very rewarding, and it also can be a money-pit. I've sunk a lot of cash into my SR3. Granted it's a film camera, but the HVX has it's own hidden costs as well. You have to square yourself up against whether or not you're 1) able and 2) willing to make a large investment without any guarantees. The HVX could be outdated tomorrow by a newer HD camera. My Arri may eventually find a place on the shelf. Or, worse yet, they could break/be broken/stolen on a shoot. I can't even tell you how much of my grip hardware has wandered away! Don't let any of this frighten you, though. Just make sure you don't, as my dad used to say, run with your choke out. Weigh the pros and cons and do your research and you'll be fine . my 2 cents.

I share that fear of the HVX blacks.

I shot tanning beds on 7229 and I can say they came out a very nice blue-purple color. Wear eye protection for people in there, though. They should have some 'round. Also, be informed the beds normally have little fans in them, can cause some audio problems.

I am definitely going to head down there to inspect it. The seller has at least furnished me with images and been very prompt in replying, I'm just wary that my eyes and heart don't override my mind.

I would wait, but unfortunately, I have committed projects already for the S16mm format. Further, the RED is as of yet, a relatively untested platform which doesn't do any good for post-workflows out here in Philadelphia. Film has been around a lot longer than any digital format, and it is in my own opinion very matured as a medium. Aside from that, if need by I could rent a red, for certain, and still use all the accessories for the Arri. I wish I could wait until the end of the year; but the holiday shopping season is always a hassle. Back to the point at hand, anyone ever have dealings with Luna Tech? He wants the money by wire transfer, is this normal? What risks are involved? I implore answers, please; 30,000+ is a large chunk of change to part with.

the "p" stands for progressive, as it woudl be in actual motion picture film, in 24p, 24 individual images, instead of "i" which is interlaced (60i/1080i) where the image is formed by two fields recorded at slightly different times. This being the case, so far as I know progressive images give higher quality and resolution and are necessary for a film out. not 100% sure on all of that, but I think I got it mostly right.

I think I might've found an SR3 package for sale from a company called luna tech (replied to me off of an inquiry on optalillumina.com). Anyone ever hear of them? Good news, bad news? aside from that I'm still considering the XTR now after looking over the package Nathan posted and have an e mail into visual products still on the sr2 as a backup. Any advice woudl be great, my poor little head is spinning in the sea of wants v needs.

Wow, that is a beautiful package. I'll keep it under consideration. Would you mind e mailing me any information you have on that specific camera to crimson238@excite.com? And also any info on the xtera upgrade (and it's costs) Best ~Adrian

So, I am shopping for cameras, and I've settled on Arri. I had asked before whether or not an SR2 package I had scoped out was a good but and had heard that it was; but recently I saw an SR3 on mandy.com for 30,000. It's comparably equipped to the SR2 I was going to buy, most of the same accessories but I was wondering is it worth th extra money (which i had intended to invest in a set of super speed primes)? What are, then, the major differences from the SR3 to the SR2, and is the 3 really that much better of a camera? Is the Sr2 still professionally respectable, worthwhile, and rock steady? Any input would be amazing as I'm already worried enough to part with my $35000

Ahh the bolex is most definitely a robust piece of a equipment. First camera I ever shot 16mm on and it still has a fond place in my heart.

I agree that at first I was taken by the the trailer, but it felt as though it dragged on towards the end. I have to say I love the last shot where the detective goes, "I've never heard that word, what's it mean?"

I'm about to drop around 30G on an SR2 with a set of Primes. It's not, for me, about buying work or anything else, but rather about owning a camera which is totally mine for my use whenever I want. I don't think film will ever really "die," and, if anything it will form, perhaps, an "elite" look which many productions will strive for. The trust your gut advice is the best I've ever heard. But, also, look at it this way; can you afford to throw that money away without any reservations? If you can, then do so. For me, I just got lucky enough to get as big check via bad circumstances (death in family,) and as my dad worked in the industry for many years, I figured the best way to spend that money would be on something which will allow me to at least do my own work for many years.

Amazing stuff, especially the dedication!