Mark Kenfield

I absolutely agree that Gold Mount is superior. And it absolutely doesn't matter much because V-mount has so dominantly become the standard. It irks me, but that just seems to be the way of things.

Its 10-bit max. You need the F35 on the latest firmware to get 12-bit output.

Yep, F35 sensor in a single-piece body with the SR tape deck built-in. To use it in 2019 youd want to make sure it has the 3G-SDI and 4:4:4 upgrade boards. Theyll allow you to get all of the goodness out of the sensor and on to an external recorder.

That's fantastic Miguel! Congrats!

The perils of beauty being decided by each beholders' eye I suppose!

I find it interesting that you list those particular movies Richard, because Lawrence and Ghandi are precisely the kind of sweeping epics that I thought Roma wonderfully evoked. I'd put it up there in that same pantheon. It felt to me like it had been years since I'd seen the sort of scope that Roma laid out so beautifully. It was easily my top film of the year (that said, the competition was notably weak this year).

Great, thanks for sharing it Martin. I'll take a look later.

Fascinating. I was wondering if it was the sunken ruins of old Alexandria. It seems far too perfect to be a natural structure.

I know that the Oscar for best live-action short is back to receiving its due recognition now, but I think the academy can save itself the time on this one particular category, and just award it to this already: Goddamn...

Congrats mate! Must have been pretty fascinating. I'm going to see if my VPN can move me to South Africa temporarily to check out the trailer.

Editing, Makeup and Cinematography... All UTTERLY CRITICAL components of the craft. It does seem a pretty bizarre move to cut those three from the telecast, whilst leaving most of the short-form films in.

Thanks JD. Sounds like a good, simple, fix. Unfortunately I don't have any old or shabby c-stands to hand. But I think I've found what I'm looking for though. Avenger make aluminium combo stand extensions, the 142B and the 146B, and they seem to fit the bill pretty perfectly for what I need. The weight is pretty good too, 2.4kg and 2.8kg respectively.

Are you planning to rent out the camera as well? If so, pony up the extra for the Mini. The demand for it would more than cover the additional cost. It's the most popular camera out there. If not? Well then it's an open field. In my own experience of Arri ownership for the past two years - I've shot in ARRIRAW for literally two jobs. None of the producers I work with will pony up the cash to record raw. So I'd weigh that into the equation when deciding. How likely are you to need to raw functionality? If you don't, does the added expense of the internal raw justify its cost? 4:3 is another area to consider. Just how much anamorphic (or 4:3 spherical) work do you see yourself doing? If it's only going to be a very occasional foray, then perhaps don't worry about it, and simply rent a 4:3 camera when you need one. Now that the Amira can be licenced up to shoot Arriraw, it's just as much a player for the highest-end (spherical) work as any of the other Arris. And the lighter weight and smaller size is wonderful - it can also go up to 200fps compared to 120fps with the other cameras. As for the classic? There's a lot of serious TV shows shooting on classic Alexas at the moment. If you're shooting for a 2k/HD finish anyway (as most shows still are), there's a strong argument to be made for it - the cheaper camera rental cost frees up more budget for more important things like lens, lighting and grip. They're all superb cameras, with the same image, just different strengths. I think you just need to weigh up which of those strengths is most important to you.

Hi everyone, I'm trying to track down a lightweight (preferably aluminium) c-stand column (ideally a 30" or 40") with a standard Junior pin base, to use to extend the reach of an Avenger A4050CS Boom Stand. A steel column would be too heavy for my tastes. So I'm wondering if anyone knows of any lighter options? Cheers, Mark