XiaoSu Han

thanks for the lead. I've got a set of primes with Les still, so he might just throw that into the package as well :) I was looking at using the adapter for the old zeiss 135mm planar f2.1 lens in standard mount instead of getting the PL version at 10 times the price. thanks, xax

wow, cool stuff! how did you get to do this job? wasn't this an indonesian production?

please do! that would be great! cheers, xax

Does anyone know if it's possible to adapt a lens with the ARRI Standard Mount to a BNCR mount camera? I've read that there might be bayonet to BNCR adapters, but I have not read about a std-BNCR adapter. If it's possible, does anyone know someone who sells those? thanks for any clues, cheers Xax

Very very good and sharp lens. Opens up to f1.8. Standard 16mm version. It has the Bayonet mount, but I'll include the PL adapter. Also, the condition is very very good and it includes a Chrosziel Fluid Zoom Drive. as one recently sold on ebay for just under 2000 USD without the adapter, I am pricing this lens at 2000 USD or 1500 EURO. Shipping worldwide is included. At the moment it's in Europe but we are traveling to the US 1st of June so if anyone from the US wants this lens we can ship it inside the US without any customs hassle.

hi vedran, the whole set is sold. thanks, cheers xax

pictures are now online at http://www.stilfabrik.at/letus35/

Hi, I have now for sale: Letus Extreme 35mm Adapter for HVX 200 or other 82mm Camera plus CAVISION 15mm Rail system incl the following canon FD lenses: 20mm f2.8 24mm f2.0 28mm f2.0 35mm f2.0 50mm f1.4 90mm f2.5 135mm f2.5 200mm f2.8 I also have a PL MOUNT and OCT-19 MOUNT, they are included. I also have 5 0.8 pitch focus rings and a GEARDEAR Mattebox which I will throw in for free. any offers welcome, would prefer a sale in Europe though! 2000€ takes the whole set with free shipping everywhere in Europe. I would also prefer to sell it as a complete set, but if I can find buyers for separate lenses and the adapter first, then I'd consider splitting. contact per PM or at xax here-comes-at stilfabrik dotdotdot at I am going to post pictures tomorrow, but the condition of everything is very good. cheers, Xax

maybe I misread "used no special filtration" and they used a 85 filter outside? what would be the logic behind that? is tungsten film generally better? consistency in terms of contrast? '18 would make sense since it becomes a iso 320 speed film then? '12 would become iso 64, could use 50D as well...

I just read in the article in March's American Cinematographer that Frank Griebe used Tungsten stocks only to shoot "The International". They mention the use of HMI lights though and obviously have day exteriors as well, so why would he use Tungsten only? It's also mentioned that no filtration is used at all and that Tom Tykwer wanted to keep the look of the film almost like the dailies, and they didn't do too much in the DI. Would he just use a set of printer lights which correct the blue tone out or how would one do that? What would be the reason to shoot Tungsten only? Thanks for any hints, regards Xax

so anyone here took them? :) i wanted them really bad but entered too low a maximum bid at the end of it because i was too excited :) **** happens i guess

http://www.stilfabrik.at/ our website :)

yes, it's a scene where a car gets smashed up pretty good. so budget is the main reason of course. we've settled on using the very close shots of the car getting smashed only which is like 3 closeups and we designed a few shots for after and before the scene in which the car is not shown. it was a pretty good talk and it has been settled so far thanks for the input :)

We've seen the other footage and it's completely not our style. We would have to adjust and compromise our shooting style for that, especially for the scene after and before that. (actually we are shooting the first half of that scene also). Other than that it's overexposed, lacks contrast and technical standard. We are absolutely not comfortable to have that scene under our name! Since we've invested quite a bit into this film as in resources (we're bringing a camera package for free), wouldn't that make it our film as well? Thanks for the input so far, regards Xax

Hi! We are currently preproducing a feature film and have encountered a slight problem. To explain the history of that feature film, it seems that it has been already shot once, but they had so many issues that they are re-shooting the complete film, including changing names, title, locations, basically everything. We (are two DPs) got on board on this film at the end of last year, and since we are based somewhere else, we just arrived 3 weeks prior to shooting. Now that we're here and already started preproducing quite a bit, someone mentioned that they are reusing quite a big scene from the last film. It wasn't really told or discussed with us, we just overheard it. So there are a few points why we won't accept the fact that they want to reuse the scene. - We just heard about this now, after two weeks of script talks with the director and after arriving here. - It's shot on the HVX200 with lens adapter, the new film is going to be shot on the RED - difference in look, technical quality, and style - difference of matching the scene (since there is a scene before and after that which go in continuity) - having someone else's work in something you want to create from scratch PS: this is a low budget film and we've been offered a small rate which we've re-invested into the film, we are paying for all our expenses ourselves. Did someone encounter such a thing before and what would be the right thing to do? Thanks for any inputs, regards Xax

i think that it's the lens' characteristics since her whole body is in focus and therefore I dont think it was tilted I don't really know of any samples from cinematography, but am sure that you can use those as references quite well check this out, the bokeh is very good in this one: http://www.flickr.com/photos/tommyoshima/431952884/ http://www.flickr.com/photos/xax/2139351221/ - bokeh

why wouldn't you need a moco for 3 passes of a dolly shot?

http://flickr.com/photos/tommyoshima/2458003302/ http://www.flickr.com/photos/xax/290612649...57607587153589/ in photography, bokeh always is an essential part of the picture :)

wow phil, you sure are negative. hope not everybody in the uk is like you, otherwise it's going to be a very very dark future... and i am sure not everybody is like you :) ps: did you ever think about why there is only "amateur crap shooting" and james bond and nothing inbetween with your mindset?

Karel you might have to get a newer PDF reader, it works perfectly for me here... it says that they used motion control and filmed 3 passes, one with Clooney, one with the explosion, one with extras... and then matting it together

still, this I think: that's a scene from a musicvideo, leica m6 and 35m f1.2, we captured this with a motion camera as well, so it counts as a still, right? :) photo, maybe this shot on rolleiflex 2.8f

thank you very much, it looks like due to budget we have to contrain ourselves to smaller units thanks ;)

Hi, we are going to shoot a feature in London, UK the first time and I'd like to ask about power supply in urban areas regarding high power. We would need outlets like 63A for example to power 5Ks and Maxi Brutes, how is this usually done and what would it cost? Regards, Xax

http://www.google.com/url?sa=t&source=...MQVRGBGBx7DZCyA to keep it short: they did three passes with the dolly (moco I guess?) and then composited it together. nice.

yuck, orange sky!