Gregory Irwin
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About Gregory Irwin
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- Birthday September 21
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We just put one of our main cameras on set with a wide lens and send it out to all the monitors. Simple! G
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Cooke 300mm Anamorphic / i Lens T3.5 CF 10' Prime Lens
Gregory Irwin replied to Curtis Willis's topic in Cine Marketplace
Ah. That would make sense. G -
Cooke 300mm Anamorphic / i Lens T3.5 CF 10' Prime Lens
Gregory Irwin replied to Curtis Willis's topic in Cine Marketplace
What does 418,000 mean because that lens is worth about $35,000 - $39,000 in USD. G -
The Complexities of Large Formats and Lenses
Gregory Irwin replied to Gregory Irwin's topic in Lenses & Lens Accessories
No. The Technos are the only new lenses to us. We’ve used all of the others many times over the years. G -
The Complexities of Large Formats and Lenses
Gregory Irwin replied to Gregory Irwin's topic in Lenses & Lens Accessories
The show is going very well. I’ve attached my cheat sheet of the main unit lens package for you to see. G -
Focus motors + vintage lenses?
Gregory Irwin replied to William Albu's topic in Lenses & Lens Accessories
I would say that there is a very good possibility of damaging the internal parts of the lenses. I use the Preston full time and I have experienced the wear and tear of the motors on vintage lenses. They’re simply not robust enough for the torque of the motors. G -
Be aware of the flight restrictions regarding your batteries. Depending on the type, they may not be allowed on a commercial flight due to fire risk. There’s a lot of information about this online. G
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If interested, send me a PM and make an offer! Everything will be considered. G
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I believe we just had the wrong tools for that particular job. In the end, the picture garnered a couple of Golden Globes and Oscars, so who am I to criticize? 🤦🏻♂️😆 G
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THE FIGHTER was completely hand held and steadicam. I now remember due to using Master Primes, the hand held Penelope was extremely nose heavy. I had the on board monitor armed all the way back to help balance the camera on the shoulder. On steadicam, the coaxial mags played havoc with the side to side balancing while rolling. The balance would change rapidly while the film traveled from feed to take up. If steadicam operator, Geoff Haley didn’t have the ability to balance on the fly, we’d be in big trouble! G
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Hi David! It’s been quite a few years and I’m trying to remember everything we didn’t care for. First off, the camera is way too heavy for its size. I expect smaller cameras to be much more maneuverable compared with larger cameras. The video taps were dark and muddy in low light conditions. The viewing system was the same. You have to realize that we are more used to the brighter light paths with Panavision and Arri. Finally, there is no real estate on the camera bodies for the accessories we require for big feature filmmaking like Preston’s, Cinetapes, transmitters and on board monitors. We
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I used the first three that came to the United States through Abel Cine in New York in 2009 on a feature film called “The Fighter”. They could possibly still have them but I would think most likely not. I honestly didn’t think very highly of the camera. G
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I am selling my personal cinetape that worked on the “A” camera for such feature film hits like JOKER, STAR TREK BEYOND, FATE OF THE FURIOUS, INTERSTELLAR as well as many more. Meticulously maintained and only worked with me. No one else! $4,000.00 USD! The kit includes: * 1 Sensor Tubes * 1 Display * 2 Fisher 3 pin power cables * 2 Panavision 2 pin LEMO cables * 4 sensor cables of different lengths. * 1 Preston Interface cable * 1 mounting arm *1 Extension Tubes * 1 Pelican case with custom cutouts Please message me if interested.
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You may want to consider a clip-on rain deflector as well so you don’t end up with a lens and image covered in water. G
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You may have to look in Austin or Dallas. G
