Mark Kenfield

Me too. How something that look so wrong manages to look so right, I'll never know. But it's a constant delight every time I revisit it. It's a constant reminder to be bold.

The main differences for me are: - 95mm fronts (compared to 114mm on the CP.2s) so they’re more compact and easier to hold/handle for lens swaps. This also means they match Zeiss’ CZ.2 zooms (if you’re shooting with both) - Smoother mechanics. I’ve rarely had issues with the CP.2s on that front, but sometimes the focus rings can be a little stiff. With the CP.3s they’ve made the action considerably smoother and lighter.

Price drop to $1790 USD per set + Shipping.

Price drop to $3,300 USD + shipping

That makes absolutely no sense. The entire point of a controlled test is that it's controlled. The shots and conditions are repeated so you can see and judge the actual differences between them.

It's bright enough to be very useful, though of course not bright enough to fight direct sunlight. The output is very useful though. I have to pair two 150w LED panels ALL the time to get enough output for a lot of situations, the single 300w unit gives you the same output, but from a single fixture, which is great. The dimming with zero colour shift also makes the light much easier to use than HMI in a lot of circumstances. Their upcoming 600w model will be SUPER useful for that same reason. Twice the output (hopefully) and all in a single fixture.

We’re using the Aputure 300Dii on a documentary series I’ve just started, and I’m already in love. Between the fresnel and the Lightdome II attachments (and using the light open-face to bounce), the speed and versatility of the light are just superb. The output is incredibly useful too. I’m excited for the bi-colour version and the 600w version especially. The COB style light source is so much easier to work with than broad and uncontrollable panel lights in most situations.

My body is ready.

Great film! Unlike others here I think Sandler did a great job, the intensity of the performance and the intensity of the film seemed to drive each other along very nicely. The cinematography too, felt perfectly matched to the narrative. To me, the film felt like watching a tense game of basketball. I could feel that same strange sense of self-aware, but intense engagement in each player's decisions - it was anxiety-inducing, but in the way that good films are.

So long as the results are consistent, I'd say you're good to go. Alexa's a bit unique/painful in that the Log image is so damned flat, that I find it really hard to use with a waveform - everything looks like a midtone. Kind of forces you to stick to your meter (which is why I'm always checking that the cameras calibrate with mine).

Hi guys, I've moved on to some faster glass, so selling my much loved Zeiss 21mm CP.3 (PL-mount, Imperial Markings). This was the wide-angle prime I paired with my Zeiss CZ.2 zooms, so it's seen very minimal use. The condition is superb. Glass is perfect, focus and iris rings are silky smooth. Located in Melbourne, Australia, but happy to ship worldwide. $3,390 USD / €3,099 EUR / $5,075 AUD + shipping

I've shot on my fair share of Alexas over the years, and though I still always do a quick grey card check to calibrate the cameras to my meter, I'm yet to encounter an Alexa that hasn't returned a nice, clean green false colour metering over a grey card exposed per the camera's rated EI. 800 on my meter has always matched 800 on the camera. I personally tend to rate the camera at 400 ISO most of the time (unless I'm short on light). But I'm setting my meter to 400 when I do so. There's always a chance one or the other (the camera or your meter) are out of spec/calibration. But it doesn't really matter so long as you calibrate them to each other, and can get consistent, repeatable results from doing do.

Dual 10amp plugs are the standard for outlets down here, whether they're on 10, 15, 20 or 30amp "oven" circuits. All extensions boards and the like are rated for a maximum 2400w 10amps @ 240v. Would it maybe be code in the States because you've got less headroom on 120v power? On a 20amp circuit we can feed a total of 4800w @ 240v through a single double wall socket here.

The best thing you can do, is use your time on the location recce to track down the fuse box, and isolate which circuits feed which power sockets throughout the place, so that you can spread the load accordingly. Use tape to mark things out clearly in the fuse box, and draw a little map of everything for your gaffer (if they're not at the recce with you). That way you can pre-plan where you're going to feed each lamp from, and can save you a tonne of time and trouble on the day.