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Hunter Hampton

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About Hunter Hampton

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    Director

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    http://vimeo.com/hunter
  1. Link: http://www.bhphotovideo.com/c/product/580779-REG/Abakus_120_132_Converter_Lens_B4.html Bought this to test with some digiprimes and digizooms on my Aaton XTR- it is really an amazing little adapter to get high quality B4 lenses mated to PL mount cameras for s16mm. But now I don't have a super 16mm camera anymore. It is in pristine/like new condition with both caps- My loss is your gain: $1500 obo Email me: hunterismyfriend@gmail.com Thanks! -Hunter
  2. Bought these lenses to use on these shorts: (9.5 and 50mm used on this) (Just the 9.5mm used on this) Love these lenses and they work wonderfully and great look- only selling because I don't have a super 16mm camera anymore and trying to fund some other projects. Clean glass and mechanics. Come with front and rear caps. Great on black magic cameras! Email me for pictures: hunterismyfriend@gmail.com $1000 each ($2000 Total) Thanks! -Hunter
  3. I bought these as a set about a year ago and are in great mechanical and optical condition. I kept these 3 from the set to have on hand but I rarely use them, Id rather use the money for something else so here they are for sale! Zeiss Standard Speed MK2's for sale in factory PL mount: 16mm t2.1 40mm t2.1 (quite rare) 85mm t2.1 I believe these same generation of zeiss lenses were used to shoot Fargo and Fear and Loathing- great sharp/contrasty yet vintage look. Covers super 35. Shot this project on them a while back on Alexa: password "hi" Asking $6400 for all three! Email me for pictures if interested: hunterismyfriend@gmail.com
  4. I bought this to shoot my short "Amends." on here and it worked wonderfully. You can see it here: Brief history of the camera, I purchased this from NFL films so and it appeared to have very little use- It has worked great for me on the projects I've used it on. Here is what is in the kit, the camera itself is SUPER CLEAN, doesn't look like a rental camera- like someone babied it: Aaton XTR Prod Body SN#B1356 3x 400ft mags with aaton covers 3x Aaton Ni-Cad 12v batteries 1x Aaton Cha-3 dual charger Comes in a laser cut pelican which holds the whole kit. Also has some extras like fuses, some cables and magnetic film gate cap. Super quiet and comfortable shoulder mount s16mm camera! Asking $2500 obo Email me if interested: hunterismyfriend@gmail.com
  5. They are very good- as good as ultra primes optically- a bit on the heavy side but made well- I don't love the flaring characteristics, but they are sharp wide open and resolve well. Crazy how cheap they are for a set of "real" PL lenses.
  6. I would scan cineon or log gamma to Prores4444 at 2K, you won't gain much if anything by scanning 16mm at 4k. Also Prores 4444 is 12-bit where as dpx cineon would be 10-bits. You can play prores on both mac and PC as well. I scan my 16mm stuff here on the scannity 4k HDR and am always happy with the results.
  7. I just did a weekend spray down of LA strait to sxs cards, used every iso- even the highest iso settings look good. Honestly I think the camera is amazing and im trying to find a way to buy one. Incredibly fun to use- the evf on the back is practically useless though, if I owned an f3- I think I would literally find a way to completely remove it from the camera. (note: I used cinegamma 1 and had detail/aperture turned off- looks way better than a lot of the clips floating around online)
  8. I would be interested in buying these, send me an e-mail to hunter@hunterhrichards.com , thanks! 8. Apochromat Kinoptik Paris ½ F=25mm No. 34532 a. Arri standard mount 9. Apochromat Kinoptik Paris ½ F=35mm No. 34956 a. Arri standard mount 10. Apochromat Kinoptik Paris ½ F=28mm No. 48687 a. Arri standard mount 11. Carl Zeiss Nr. 4995462 Distagon 1:2 F=16mm (focal ring O.D. sez...“ARRIFLEX”) a. Arri standard mount 12. Cooke Speed Panchro Lens No. 314704 35mm f/2 ELC a. Arri standard mount 13. Cooke Speed Panchro Ser. III 668363 25mm f/2 T2.2 (second “2” is subscript) (focal ring O.D. sez…”Lens made in England by Rank Taylor Hobson” followed by “TAYLOR HOBSON 25mm Ser.III Arriflex”) a. Arri standard mount 14. Cooke Speed Panchro Ser. II No. 543010 40mm f/2 T2.3 (the “3” is subscript) a. Arri standard mount
  9. Ive been doing this for a while on my 5d, lots of fun. I think turning it 90 degrees as you said is worth some testing, could be nice. I would keep your mirror IMO, 50mm anamorphic is plenty wide. Links for what its worth; Little test I did: http://vimeo.com/9116034 Some full 16:9 sensor desqueezing by my friend Charles Lim; http://vimeo.com/9763086 http://vimeo.com/10158896
  10. 2.0 launch film made for Hollywood's freshest film & digital post company: Cinelicious. We made this to go along with their new site and location on Melrose ave just down the street from Paramount. Shot in a weekend on a 5dm2, with a 2 man crew... (Paul Korver and I) needless to say, this is what video on a dslr was made for. Color by Steve Rodriguez. Music Track: Daedelus "fair weather friends" Dp/directing & cutting: Hunter H. Richards. Produced by Flaretastic & cinelicious Do some post with Cinelicious and check out their super-fresh new site at www.cinelicious.tv - heck, just click the ad banner on the side Had way too much fun with Paul on this one! See it here: Cinelicious 2.0 film (also viewable at cinelicious.tv)
  11. Decided to grab some random stuff over the past few years and make a cut- some narrative, some just random... whatever. Not sure if I like the cut but I figured its worth sharing. Thanks for checking it out: http://vimeo.com/13307868
  12. I bought one of those PV size blue streak filters from Stan Wallace of the Filter Gallery and have been extremely pleased, its like the blue-vision filter but actually affordable enough to buy ($26k vs $800). Gets some really pretty flares, I would even use it on an anamorphic lens if you wanted a little something extra. The iscorama is really cool as its a 1.5x adapter and quite sharp, but being a sorta older SLR "gimmick" lens, its hard to use for cinematography; the horizontal compression is difficult to get exactly right and can come out of alaignment, the close focus is only 6ft w/o modification or diopters, and I think it would be hard to follow a subject with one. Does anyone else think it funny how much we are willing to sacrifice for oval bokeh and horizontal flares? ; )
  13. Ive shot quite a bit of 2x anamorphics on my 5D (mostly with lomos), you can do it and its certainly fun for commercial projects or a music video- for workflow I start with a 2.39:1 chart and mark off the LCD with tape for approximate framing after desqueeze and crop- then mark off an external monitor as well if your using one, the edit stays squeezed and once finished; I send it through shake (or after effects) to dequeeze (by 2) and crop the appropriate ammount of pixels off the left and right sides to get a proper 2.39:1 frame. Its quite a process, but yeilds some interesting results. However, for a feature; here are some major concerns and why I would avoid using a 5d anamorphic set-up on a long term project like a feature film. The single BIGGEST issue is focus and lack of appropriate monitoring, as the 5d doesnt spit out an HD video image while recording, your only looking at less than 576x480 pixels to judge focus for an HD image. This makes any shot with movement near immpossible, and thats not a stretch of the truth thats just the reality of the poor monitoring. If you have the money for primo anamorphics, shoot on something like a Red with an M-X chip, Its still cheap and the moitoring is great (and it has an anamorphic desqeeze built in) if you want to use the 5d to get some weird b-cam or rig shots, go for it- but im afraid youll learn some lessons the hard way if you try to do a whole feature anamophic on the 5D. Just my 2 cents. A side note, you can always crop for cinemascope, shoot spherical and get the flares your looking for with a blue streak filter- saves a lot of headaches with a camera like the 5d.
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