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jan von krogh

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Everything posted by jan von krogh

  1. i would recommend employing a DoP who knows the camera he wants - and in the particular case a reshoot on 35mm mechanical instead of digital. without joking - i suppose you are having noise in the blue channel?
  2. So, am i now advertising red cameras and lenses, the si:2k which is distributed by ps technik (who also offer fine lenses and the cool IMS mount), or the lenses we have been betatesting? To make things clear: we are not a manufacturer, not a reseller for any of the products mentioned above.
  3. Knowing, a fullfeature shot on red, is #1 in the USA. Other news: The Academy Award for best cinematography was awarded to a feature shot mostly on the (fully digital) SI:2K. Before we forget: The new german Prime lenses price has been disclosed. Sub 10.000. €.€€€ per set. The optical quality of the lenses is excellent - possibly because they have an 2008 design.
  4. As many people know, we consider these internet forums a waste of time. however, faster they are. we will soon offer a set of prime lenses. the quality is german-style, the price is matched to reds offers. please be aware that we cannot receive more than 5 mail on this bulletin board. if you want to keep posted, therefore, please post on this thread. jan von krogh
  5. Canon, Kodak, Sony, Fraunhofer etc. might disagree. However everyone is entitled to an opinion which doesnt need to be based on facts.
  6. i usually decide what lens to use on the format - 35mm and S35 lenses favor sensorbased and mechanical/digital cameras. What has all of this to do with HD, 2K scan 4 cmos etc? The Acaemy award for "Best Cinematography" this year was given to a mainly digital S16 2K production btw.
  7. jan von krogh

    Camera Cost

    mechanical cameraswill be *ultra*cheap within 12-24 months, as nobody wil buy new ones anymore. dont pay solid money for them, just check what mechanical hasseblads or nikons get on ebay today.
  8. why arent they listed in the "35 mm" section of this forum?
  9. i dont think that the marketleader needs backup from us anymore. Keith, if your skills as dop and as doctor are equal, that would explain quite a bit. Keith, i dont want to be to harsh on you, but in 3-4 years most cameras will be better than anythinh you ever used so far. Lets be rather pessimistic and say 6.
  10. correct. the copies were shown in the cinemas in bavaria. the television copies were less.
  11. The last 6 months were quite busy and i dont like to chat with bored single guys all night, yeah. wasting time on the internet - and especially the forums - isnt recommendable when you dish out several 100s of printed film copies and DCI masters a month. the "gruene" spot mentioned above btw, alone had >400 4K 35mm arrilaser copies. probably more than several of the crybabies here ever had (and will have ) so far as copies total. however. besides being pretty busy, i also think that any discussion in this subforum is pointless until 4 people (you and 3 others) buy yourself some digital cheapo moviecams you can afford alone. or a new generation of mods would take over. or change the ownership of the forum. i suppose within the next 24/48 monts you and most the others here will shoot digital. and i suppose that "4k/12bit/raw" never wassufficient to tell your story would be *the* common excuse by then. And i would agree.
  12. we offer - if the clients are cool - our 6 well equipped reds ones for 999€ each a week. thats doesnt include the astro & tv-logic monitors, the cooke & angenieux lenses, the sachtler & oconnor tripod heads etc. we are pretty much booked out. for cheapos, we still have our vintage arri IIB 35mm cams and the canon 5D MK2s.
  13. This might be one of the reasons why so many folks, which are paid way better than you, are are using red.
  14. i own HDCAM and RED cameras and both have advantages. i cannot agree with you after >1000 hours shot on each system. Both have advantages. For full-features and cinema work the red would be preffereed often here. if you are not able to shoot and expose correctly for the red, you should book a training or leave the DoP/cameramanposition for someone more qualified.
  15. have you been charged for that mishandlling or did the insurance pay?
  16. the red sensor baed 35mm cameras is replacing most mechanical 35mm cameras her in the gaps HDCAM left. 2008 we rented/realized >50 productions with red. 2008 was one of the busiest years i experienced in the last 20 years. 6 examples: CLIP: polarkreis 18, #1 top ten germany CLIP: eisblume. top tem germany- FULL FEATURE: Krankes Haus, director Wolfgang Becler (Goodbye Lenin), DoP J.J., Tom T. (Lola rennt) producer FULL FEATURE: TBA upcoming Hans Weingärtner (The Educators/Die fetten Jahre sind vorbei) COMMERCIAL: Green Party - Bavaria. distribution >400 copies 35mm on 4k COMMERCIAL: Flankenwechsel. distribution >1000 on-airs. happy googling. we meanwhile own & operate 6 red cams and are undecided what additional lenses we want to offer. i personally love the clasic cooke SII prime and angenieux 25-250T3-9 zoom which were also used in all of the above and am undecided if to buy more master/ultra primes, cooke S4 or photo-lenses, which offer sufficient quality for the red. the first 2 mentioned lenses expose their weaknesses on the red. after 2008 we are highly satisfied by the red cameras and are critics regarding reds post and service strategy.
  17. I would recommend going back to the 30ties cameras. These might fullfill your artistics need better. Btw: We usually fire cameramen if they dont know how to handle sync issues on hdcam or codec errors on a red (etc). Usually it is part of their employment contract to know how to operate the camera. This of course might be to complicated for some feollws here on this particular "forum"
  18. Polaroid doesnt make film anymore. MINNETONKA (February 18, 2008) ? The magic of instant photos is going digital. Polaroid, the company that pioneered instant photography 60 years ago, is launching a new line of digital instant photo products. Using a revolutionary, inkless printing process, the Polaroid Digital Instant Photo Printer unlocks photos trapped on cell phones and digital cameras. For fans of the original Polaroid instant camera, the digital instant printer provides a whole new dimension in the magic of instant printed pictures. Earlier this month, company officials announced that the increased popularity of digital photography led Polaroid to plan for the exit of traditional Instant film in all formats and sizes. Although the company will halt production this year, Instant film is expected to be available into 2009.
  19. IMAX intends to go fully digital on all IMAX screens worldwide. http://www.reuters.com/article/industryNew...039167720080623 reuters http://www.hollywoodreporter.com/hr/conten...a5da10fc05e5087 hollywood reporter
  20. Amusing. If someone with a certain lack of technical understanding calls the RED one a ~1K camera, he should also mention that the arri discontinued ARRI D20 and the now available ARRI D21 then would be ~0.6K cameras. Some other guys however have a different judgement. ?If you shoot at 4K, but want a ?film look?, then you finish at 2K and add some grain. It?s easy. It looks like film. However, if you finish and screen at 4K, the result is like shooting in 65mm, like the old epics used to do. It?s pretty exciting, and will have a major impact.? Peter Jackson.
  21. Keith, security, military, science, astronomy etc use only digital cameras for their high end - since a long time. These industries have somewhat higher requirements for image resolution & quality as the movie industry. In that market 100MP sensors are pretty usual since many years - as are better optics than anything angenieux/zeiss deliver for the cinema market. Just google "Hubble" for receiving and "ABL" for emitting lenses. film is passe in these markets.
  22. My Reds are certainly no "love" - they are one model among of my cameras, a tool. I prefer my HDCAM camera for certain situations, as would i prefer film for others, on some even on my vintage 35mm arri and for others (as ultra-high speed) i even might rent (a Weiss II or a phantom). Digital top-end cinematography is a normal thing meanwhile, is used by excellent artists, and its marketshare is getting bigger every year (in production) or already is the mayority (as in new cameras sold, build & delivered). Its nice of you to care about my investments, but in the case of the reds that was easy money to earn back - especially with the rental price in Q1/Q2 2008. Btw - i thought you invested in red yourself? Furthermore, i also have my HDCAMs camera/vtr/mons etc... so i am not all to biased regarding red i suppose - they are doing different jobs or work side by side - just as red and 35mm film do in "Jumper". Have you heard what Doug Liman said regarding his use of red? And to be precise: What numbers you have problems to understand? 4.000-5.000 red cameras sold? Some dozens of Arri D20/D21 manufactured? Jumper #1 in the boxoffice? Thousand(s) red one delivered this year?
  23. I have to admit that we are moving towards fuji more and more as well here - but with the meanwhile heavily reduced amount of film we buy i dont look at the film characteristic as much as i did in the 90ties, so it could also be just us. *edit* maybe the Kodak logo should be replaced by fujis to be more realistic....
  24. Max, it seems you are missing 2 points here: 1st: All the digital cinematoraphy cameras see plenty of use - i.e. Michael Mann and David Fincher are using Viper, Doug Liman and Steven Soderbergh are using red, Marc Foster is using 8 Dalsas for the VFX parts in the next James Bond "Quantum Solace", Abrams/Matt Reeves do wild stuff as mixed as Viper & HDCAM for "Cloverfield", other combine SI:2K and Red for 3D as Thomas Jane for "Dark Country", Syndey Lumed or F.F. Coppola use HDCAM (SR) - just to name a few. Also several forum members, as David Mullen, are shooting digitally right now, Mr. Mullen is using the Red iirc. The Genesis is pretty popular as well. The discontinued D20 and its successor, the D21, however have shot less features, in all the years since Arri started them, than red in its first months - and the first movie shot with red (side by side with film), Jumper, directly went to #1 in the boxoffice. I am highly sceptical if ARRI will have success with the D21. Red is making $$$.$$$.$$$ revenues on its cameras and is selling thousands of cameras, Arri, has only produced dozens of the D20 and *hopefully* will be able to produce & sell more of the D21. I still however have to meet a single company who intends to buy one. fingers crossed - but i am afraid that Arri needs rather a better and more competetive product to get back its market share. 2nd: The reds are in use from academy-award winning directors and A-Budget, *lots* of top-end commercials, low budget shorts, student movies and yes, even private. Pretty much everywhere. Some replace 35mm cameras, other HDCAM, others 16mm, others HVX and some folks even shoot imax on it (http://www.bilder-hochladen.net/files/3raj-5-jpg.html). Right now the RED has a higher rental price than a classic 435 or new 235, but is below an Arricam Studio/LT. Once red has deliverd the additional outstanding 2~3.000 cameras and producers can *buy* instead of renting the cameras, the rental prices will begin to adapt. I wouldnt be suprised to see thousands of red in the 100-300?/day bracket starting Q2/Q3-2009. Which is great, as all the 5 cameras here then will be fully earned back - a breakeven which was much slower on 35mm mechanical or hdcam. And thats where a standard process when markets translate from mechanical->digital starts. The exciting rental devices (as CD-Recorders were once), which costed >10.000? become are common goods. Rental prices have to match to justify rent instead of buy. That wont be very different once Nikons, Canons or Olympus 35mm cameras start to offer 24P (and higher) continuos video as well and join the party - which is not to long ahead.
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