Peter Milanov

Well, yes. The IIc is the usual way to go. But the viewing system on the IIc is not good and I got a 35III for a good price including Jurgen videotap, wide angel viewfinder and extender. Right now it´s stuck in customs. But it will hopefully arrive tomorrow and I thought I´d collect some information as I´m hoping too shoot with it this saturday. There is an old thread here, but I was hoping to get some more technical information on the actual conversion of the camera.

Anybody here having experience making an Arriflex 35 III into a hand cranked camera? What to do and what not to do, pictures? I´m grateful for any information. Thank you

Phil, with that attitude you will never be a part of that 5%. ;) Besides, you can always take ideas and techniques from very complicated setups and use them scaled down on smaller things.

Thank you Dean. We have now completed three more days of shooting, one to go. This time we had a lot more equipment more complex setups. The camera was on a Fisher 11 dolly for almost every shot. The lighting kit consisted of three Arri compact 6k, a 1200 Arrisun, two Kinos (2ft 4-bank, 4ft 4-bank), a Chimera pancake, a Chimera (small) lantern, two 300W arri fresnells, a redhead kit of three and a few dimmers. A cracker for atmosphere smoke and a few flags, floppys and scrims. We also had a 40kW generator for the 6ks. A lot of equipment for a six man crew, but everybody worked really hard and I couldn´t be more pleased with the result. The Epic performed good, a few glitches, but nothing seriously. A few more picures: Hopefully we will finish the last day within a few weeks. Depends on the availability of the location, a hospital room. We also have a flashback sequence left that I hope to shoot with a handcranked Arri IIc and some leftover Fujistock from my freezer.

Tha Canon acv-235 is for 2/3" sensors, so it´s not really an option.

I´m not really a post guy so I will check with red guru of the team. My gut feeling is to go to Prores log, do as little as possible in Redcine-X, just bring as much information as possible. As for the aspect ratio, yes the lenses are 2x anamorphics. Both the Epic and Redcine-X have settings to handle that, so I don´t see it as an issue. I´ll try to get back with more information regarding our post process. Yes, The Alexa studio will be very interesting (and possibly increase the value of my anamorphic kit ;) ). I´m more of an Arri person than a Red person, but both cameras produce impressive images. 5k with the Epic is nice, slightly larger sensor than the other Red makes for better use of the anamorphic lenses and it captures every little beautiful artifact that these lenses produce. We were shooting at a T 4- without any filtration exept, of course, ND. I think we were on a ND 12 on this slightly overcast but still sunny day. ISO 800. We might bring in some digital diffusion filter, but in that case very little.

Imageshack was pretty annoying, sorry... Trying something else, I had problems uploading multiple images.

Just finished two scenes for a short film that we will hopefully finish in September. Had the opportunity to test out one of the few Epics here in Sweden (thank you "Ljud och bildmedia") together with my set of Lomo anamorphics. So I quickly gathered a small team of four people and we shot the scenes in about six hours. Seven setups; four dolly shots and three steadicam shots. For lighting we only used a few bouncers, didn´t have the manpower to raise any large frames. But we were pretty lucky with the weather, sunny but with a little haze that took away the harshness, could nott be much better. Screenshots are snapshots from Redcine-X with a fast correction in Photoshop, nothing near a final grade of course. Got a couple of behind the scenes as well. First impression of the Epic; it´s a step in the right direction from the One, but it´s no Arri... Maybe Jim can use some of his money funding a large movie production for the entire Red team to work on and then get back and design a camera that is actually built to work on a movie set. To be fair, we did not have an in/out module (is that out yet?) so having to choose between monitor or viewfinder and having only one SDI out might be corrected eventually. No hook for the tape measure (didn´t they forget that the last time too?) But it´s small and light, did not rebuild it when changing from dolly to steadicam. Did have a problem with powering the setup from my rig (Ultra 2). The camera shut down when we hit record, so I had to use an onboard battery. Did not mind that though, the extra weight was good for the setup.

I´m looking for a 50mm Lomo anamorphic roundfront lens. Prefer PL mount but other will be considered as well. Email me at peter@milanov.se

Or contact Jonas Åkerlund at his company RAF at www.raf.se

I worked on a production the other day with the new RED prime lenses. They looked very sharp, very little breathing and seems to be well built. But, as a steadicamoperator I didn´t like that they differ so much in weight, a lot of rebalancing. Also, the focusscale was very strange. The highest marking on, I beleive, the 25 and 35 was 5 meter (about 15 ft.) and then infinity and the throw up there was really short, almost like a still lens. Is it based on a still lens design? I also found it to flare rather ugly. I would not recommend any production to use them, the ultra primes rent for about the same, just go with them.

I got hold of Steven and he´s on the job. Thanks for the help.

Thanks Hunter, but I e-mailed him about a week ago, no reply... Guess he is busy making 7D, 5D PL mounts :-) Mailed him again today. Still, if anybody have one lying around, let me know.

Looking for a focus gear for a 75mm Lomo anamorphic roundfront. peter@milanov.se

I think the best thing to do is to go to a cameratech with it. You have to lubricate it before testing anyway. You basicly have two options; sell it very cheaply untested (you might be selling a doorstop, so you will get paid accordingly) or have it looked over and tested, then you know what you are selling and can ask for a better price. As for the lenses, if the seller, in this case you, say they are in bad shape they are probably not really usable. There are a lot of cheap Lomos in good shape out there, so there is kind of a buyers market. If you put it it up on Ebay in this shape I would probably bid up to $1000 for it as I have some experience with maintaining a Kinor, but I would stop there. (by the way, you should also look into fixing your keyboard, your capslock seems to be stuck... :rolleyes: )

You can not expect to get very much for it. This is an untested camera that is at least 20 years old. You probably don´t know if it has been converted to accept Kodak and Fuji film and you don´t know if the electronics work. The one thing that is positive is the videotap port. I would say it will go for not more than $2000. If I remember correctly Mr. Taylor sold one of these almost unused and in perfect working condition for $3800 so the $2000 might be a little high.

You actually think a good steadicamoperator is cheaper than a cameraoperator that is good with handheld? :blink:

Was googling a little on the subject and came over these guys from Sweden. http://webstaff.itn.liu.se/~jonun/web/HDRVideo.php

I don´t want to rain on your parade, but the last piece of the puzzle is a very large one compared to what you have done so far. Bracketed exposures has been used for a long time, I remember doing it for some low budget commercials for local television back in the early nineties, combining the images is not the hard part. What you have left to do is basicly what James Cameron did for Avatar but adding yet another camera (and of course have them perfectly aligned at all times instead of the 3-d setup used there). I would imagine an HDR camera would have to be more like a 3ccd camera but with 3 cmos chips after the beamsplitter. That would make a usefull HDR camera with only one lens.

Finally 1080p @ 24 and 25fps :lol:

Just got back from the 20min screening and it looks a lot better in 3d, but the actionsequences would benefit from a higher framerate.

Come on Milo, did you really fall for this? :lol: By the way, the DVD was due on April 1st...

Hi, first of all, get a strong operator and pay him a lot... I use an Ultra2 and with two powercubes I run the RED, a Preston, Cinetape and transmitter for about an hour, so power will be an issue. I would probably use a lighter monitor and an extra onboard battery. If you don´t go for 4k use something else than RED. Sony and Panasonic have a lot of HD cameras, go to your rentalcompany and do some testing. REDs own 18-50 zoom is light and would be a good choice. Also, will RED be able to handle such a long take without overheating? The fans goes down during takes so it will be 90min without proper cooling.

That´s one way to see it. Another, more accurate, would be: Knowing, a fullfeature shot by Simon Duggan, is #1 in the USA. ;)