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Mark Kenfield

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Everything posted by Mark Kenfield

  1. Mark Kenfield
    It's great that it has a downsampled 4k option. With bayer sensors, that really does seem to be the key to "filling in the gaps" image quality wise. I just wish they'd implement XAVC's full spec of 12-bit 4:4:4. 6K downsampled to a 'true' 12-bit 4:4:4 4k image (with the comfortable data load and easy editing that XAVC provides) would make for a terrific onboard mastering codec for all but the most demanding requirements. Canon have the same stupid limitation with their C700. 5.7k downsampled to a 'true' 4k... but then they throw away half of the chroma information like Sony with 4:2:2 recording.
  2. Mark Kenfield
    What a great, simple solution! Thanks Bruce. Ill keep that one in the back pocket. A trick Ive used in the past, I getting a c-stand (or better yet something more solid like a combo), positioned beside the tripod so that it acts as a hard stop for the pan bar. Tape some foam or fabric on to cushion the impact a smidge, and it works quite well.
  3. Mark Kenfield
    Gorgeous frames Bruce! I looooove that restaurant one!
  4. Mark Kenfield
    How long is Cookes wait list for their reborn Panchros?Might be worth weighing up what you could sell the base lenses for (against a set of the new ones) versus a faraway rehousing. Id certainly be interested to hear how they compare.
  5. Mark Kenfield
    Do you already own the base lenses? If not, I think it's well worth considering Cooke's own re-release of them. From what I remember, the prices between the new-old lenses and a high-end rehousings are very close to equal. Which makes it harder to justify the rehouse
  6. Mark Kenfield
    Can you dial in bit of minus green on the cameras?
  7. Mark Kenfield
    Is it the Epic MX or the Epic Dragon? The Dragon sensor makes lovely images if you use the IPP2 colour processing. I know some people struggle to get good results with the Red Colour Science, but honestly, I don't think you can fault the camera for that - it's inadequate colour grading/knowledge that's to blame. You do have to run your footage through Red's proprietary software, and process it in IPP2. But so long as you do that, you can get very malleable, very pretty footage to work with. No camera is going to improve your lighting or your art dept. and the cameras are all so good these days that it really comes down to the processing so far as wrangling a pleasing final image is concerned.
  8. Mark Kenfield
    It's viewing angle that makes the big difference. Pop 6k Alexa 65 material alongside regular 2k Alexa material in a conventional theatre, and it's tough the tell the difference (since conventional Alexa is already so sharp and noiseless - the usual hallmarks of large-format photography). Run them side-by-side on an IMAX screen though, and the larger format SHINES, whereas the S35mm version does start to break apart visually. You can see this even more clearly with film. Dunkirk in IMAX blended 15-perf 65mm and 5-perf 65mm. And as nice as 5-perf 65mm is, it often looked mushy and grainy compared to the exceptionally low-grain and clarity of the enormous 15-perf parts of the print.
  9. Mark Kenfield
    The 70-200mm T/2.9 CZ.2 has been sold. The 28-80mm is still available.
  10. Mark Kenfield
    With a bit of right angle bracketry, you could do this with something as simple as a horizontally mounted tripod head.
  11. Mark Kenfield
    Excellent thread. Hilarious and informative! ?
  12. Mark Kenfield

    Super 16

    Mark Kenfield replied to Jon O'Brien's topic in 16mm

    S16mm is gorgeous. I feel like I'm actually starting to lean towards the smaller format as a more useful medium (if we're wanting to differentiate ourselves from the 'look' of digital cinema) relative to S35mm, as the Vision3 stocks are SO clean, that lately I've found it quite difficult to tell the difference between S35mm and digital (Mission Impossible and Westworld being two recent standouts in that regard). I feel like S35mm really needs to be pushed a stop these days to carry the sense of the grain through to the final image, and project something that genuinely feels 'different'. I had a meeting the other day for a pilot that the director is pretty gung-ho to shoot on S16mm. I have fingers and toes firmly crossed that we can make it happen!
  13. Mark Kenfield
    It's called 'Hog Mesh', here in Australia. You can source through John Barry.
  14. Mark Kenfield
    4 stops of overexposure latitude at native ISOs is pretty limited. And even 5 (if you push it a stop to 800) is pretty underwhelming in this day and age. I'll be interested to test it and find out how far you can push it for a well-balanced latitude without undue noise.
  15. Mark Kenfield
    Karau (http://karauproducts.com) make fantastic pouches, tough and beautifully made. I have one for my lightmeter and another for my spectrometer. I don't leave home without mine. They make one for the 858: https://www.filmtools.com/sek608and608.html Highly recommended.
  16. Mark Kenfield
    Very interesting. Thanks for sharing Adam. The image is so clear and pristine, I'd never have even guessed you'd thrown vintage glass at those spots. I still think that's the big (and primary) point of difference with these large format images - the sheer image quality.
  17. Mark Kenfield
    I'm pretty sure it's DPX (or raw) only. From memory, I think there was mention of adding DNxHD eventually, but I don't think that ever happened. Also, I'm 97% sure the Gemini only works with it's proprietary media. So I'd definitely contact CD directly to ask them whether their current drives are backwards compatible.
  18. Mark Kenfield
    Dedolights and mirrors are your friend.
  19. Mark Kenfield
    Replacing some faulty image links:
  20. Mark Kenfield
    Granted I've only had a single opportunity to use a geared head on a shoot thus far. And it's possible that it's the control freak in me that's waxing lyrical here. But I think there's a pretty clearly quantifiable difference between the motion of a geared head and a fluid one. For precise pans and tilts, smooth starts and stops, and silky diagonal movements, I think the geared heads have a pretty definite advantage. The size and weight can be a nuisance (unless you're living on a dolly), and your tilt angles are more limited. But given the choice, I'd personally opt for a geared head in more situations than not. I love the precision of them. But I'm a little higher-up on the control freak spectrum than most, so that might have something to do with it.
  21. Mark Kenfield
    HDMI is totally capable of transmitting a 10-bit 4:2:2 signal.
  22. Mark Kenfield
    Olympus's top cameras appear to be the kings of weather proofing. They literally run them under hoses in their promotional materials.
  23. Mark Kenfield
    They're the guys who made the Crank films flying around on rollerskates. Those films were absolute madness in the best kind of way.
  24. Mark Kenfield
  25. Mark Kenfield
    That's amazing ?
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