Aapo Lettinen

you can get 235 framing lines to 5d by using ML firmware. or you can just mark the approximate lines to the monitors with tape. You can also use screen protector and draw the lines directly to it with pen. External viewfinders, for ex. Zacuto, and some monitors have option to generate and show different framing lines.

you can get a new or used t2i or t3i with kit lens, but that's pretty much about it. Video camera is not that much cheaper, you need usually at least 10x optical zoom and manual adjustments even when using consumer cameras. Usable tripod with head is at least 300 usd more, but you really really need it from the very beginning so it could be considered mandatory. I'd recommend investing at least 1000 - 1500usd for a very basic package if you really want to learn something with it. Good package with for example 5Dmark3 and lenses plus accessories is at least something like 5000 usd

I have the 8mm and 85mm, and according to my experience they are worthwile if you can't get better lenses. the contrast is a bit, how would I say, stuffy <_< and the mechanics are not that excellent. They also have a little bit of chromatic aberration (not much, though) ...

5Dmk3 could indeed be ideal for learning, and can also shoot raw with firmware hack if needed. 16mm Kinor, Bolex, Krasnogorsk or Arri could be used for film experiments and learning (good image quality + less expensive than 35mm) If interested in Cinematography specifically, I would buy a dslr or Blackmagic camera with very good optics and accessories, and also some small light kit (basic small fresnel kit + stands, flags, reflectors, etc.)

Super 8 -cameras are excellent for a beginner. However, you have to shoot A LOT of material when gaining experience in visual storytelling, video is much better in that aspect (not limiting your shooting to a couple of minutes of material per week) If you're interested in film workflow and aesthetics, I'd recommend buying both cameras. With film, you learn to choose your images more carefully and plan them beforehand, thus shooting more efficiently and quicker with also video cameras.

dslr with good video capabilities is usually the best choice for low budget narratives, experimental films etc. and you can also take photos with it, gaining experience in both filmmaking and photography. For documentaries, home videos etc. however, it is usually more practical to use real video camera for better usability and speed. If you're choosing the dslr route, you really should invest also on lenses and accessories. Some basic package consisting of, say, a t3i or similar camera with one good quality, generic zoom lens and two or three basic primes ( maybe a 50mmF1.8 and one or two old manual lenses for practicing) could be a good start. Also remember to buy a tripod with good video head and external microphone for sound recording) I really recommend to start with short documentaries and do the narratives later... exploring real life stories before making your own makes you a better filmmaker

Get the blower bulb, and some cleaning swabs specifically made for sensors, with the fluid. I personally use Sensor Swabs with Eclipse fluid, other swabs are also fine. I suspect the microfiber tip could damage the sensor if you try to clean with it, better to use dedicated tools for this... You also have to look first what the debris on the sensor is, it could also be metal particles from lens mount, or some other hard material which should be removed before using pads or swabs (to avoid scratches). Usually you need the swabs maybe couple of times a year, the blower bulb is usually enough for dust and other small particles :)

it could also be possible to use silicone / polyurethane bands for this if you don't trust rubber. I don't know how well polyurethane responds to heat, tho... they use this kind of bands for ex. attaching temporary hair extensions. There is also O-rings made of nitrile rubber which could also be used :)

In Finland they shoot features mostly with Alexa in Prores444 and the rest of the films is usually Red Epic or R1MX. If they are doing period films, they usually add some grain to the Alexa footage in DI. Most of the DP:s and directors seem to prefer Alexa, especially now when it can record 2k prores. I remember ONE feature last year which was shot in 35mm... small country=small budgets is one reason for this situation

5D2 raw video has aliasing problems, just like the original h264 recordings. It's still line skipping sensor output, that can't be changed... If the oddball resolutions, high storage demands and the more complicated workflow do not bother you, then I'd give it a shot :rolleyes: You can get something like 8 to 10 minutes of footage to a single 32GB card... :ph34r:

It's not only about making the film YOU want to be made, it's very much about making a film paying audience wants to watch. In the end, end customers pay most of the costs of filmmaking, so it's not possible to make a commercial movie without large audience. But if you, as the filmmaker, can convince the producers to use your medium of choice to make the movie more enjoyable for the audience (thus earning more money to the studio) , like in The Man of Steel, Star Trek Into Darkness, etc. , then it's win-win for all of you and better art-house popcorn slick for all of us ;)

It's mainly about workflow and distribution advantages. It's all about money, and making more of it; artistry is supported ONLY if it adds to the commercial value. Producers are usually thinking about the distribution/end customer, the movie is adjusted to fit to their taste and expectations. Good example is the 3D movie / post conversion nightmare, it is usually made mostly for marketing purposes, the artists may not have a choice to complain against it if they want the movie to be made because 3D still has huge marketing value....

I color correct a lot with computer monitors (documentaries, shorts, etc.), and have managed to get decent results outputting to also rec formats for tv sets, and even dcp. I actually don't have dedicated monitor calibrated to rec709, I just grade to one color space and use software conversion to output for different spaces. You really, really must have at least: -One good quality, properly calibrated monitor. Never, EVER do ANY color correction without having calibrated the screen you use! (You can manage with Spyder type of calibrating tools if you are short of money. The thing is really about knowing what the image should look like with your settings. Calibrating with screen calibration wizards found for ex. in Windows is NOT accurate enough for ANY kind of grading work, not even in amateur use.) -video scopes, and the knowing how to use them. You do basic adjustments using scopes, then start finding the look with monitor image, then go back to scopes and adjust again, etc. I usually use two monitors, one calibrated to 55cd/m2 (about same brightness as the basic movie screen) and another to 180cd/m2 (about same brightness as the tv set could be). Switching between the two, one can bake the look of the image until it looks reasonable with both monitors (---->most watching situations the final product could have. The viewer could have any kind of settings in his/her setup, but at least the image SHOULD look OK in most setups because it is graded to very wide range of display brightnesses. But it is common practice to do slightly brighter grade for tv use because the watching conditions are so different from the movie theatre, with all the ambience in the room etc.) For me it is easier to color correct with dim monitor (55cd/m2) and then make sure the image looks good with the brighter monitor. Not other way around ( --->making the image too dim by grading with too bright monitor). I usually always grade, with computer, to rgb 0-100 IRE (0-235 rgb) and when mastering, let the used software do the conversion to other color spaces, e.g. rec709. As said, it is quite impossible to calibrate screens only with eye, you really must have dedicated calibration tools for this. And most of the tv sets have various "image enchanging circuits / modes" which almost always hurt the colors and make the grading very difficult, you should at least switch them off if possible ;) You can't do anything if the viewer has so badly off-spec set that it shows all the hues and gammas incorrectly. You can adjust for it, but you have to live with it, knowing youre movie may be shown in a 20 year old CRT with incorrect black levels, massive green color cast and wrong aspect ratio :lol:

If they are using user's holiday pictures for free in ads and such (I have understood their licensing allows that) , THEN it surely affects stock photographers... otherways, surely not <_<

You can also get an M39 to M42 adapter (just a small threaded ring, possibly included in M39 to EOS adapters), and use it with M42 to C-mount adapter which are easier to find

Personally I would maybe try to convert some old Nikkor primes if wide angles and hard PL mount is necessary. For ex. AI-S -series lenses are usually very sharp and have more contrast than most cheap M42 lenses. You maybe have to re-built the focus and / or iris mechanics, just like with the M42 lenses <_<

I bought that Rafcamera adapter couple of weeks ago. It's perfect for close focus and macro shots, but very few lenses can be used for normal shooting because the rear part of the lens have to fit inside the adapter and tho must not have diameter more than 51mm. for macro shooting, you can use any lens and just flip the adapter if necessary. Some older lenses with T or T2 mount can be fitted to PL with an adapter rafcamera also manufactures, it enables infinity focusing and is quite affordable. Usually these T lenses are telephoto or extreme telephoto lenses, never seen any wide angle lenses in this mount. http://rafcamera.com/adapters-and-mounts/t-t2-mount-lens-to-arri-pl-mounted-camera-adapter

because the outer diameter of the film roll is then bigger

yes you can use short ends under 400ft with 400ft mags. If I remember correctly, the Russian cores are a little bit smaller than western ones (was it 1.5" versus 2" ?) , so you can't load a full 400ft roll of film to Kinor 400ft magazine if the film is on 2" core

ok have to try some different developing <_< I really thought it's SUPPOSED to look like that, all my batches have come out with same kind of texture. Never thought reticulation could be so symmetric and consistent :blink: Could it be the fixer, I have used various settings and developers & temperatures but the fixer was usually the same :angry: Never ever had any problems with Kodak films with these settings, maybe this film just doesn't like Kodak chemicals ;)

UN54 has very odd grain texture, it may be distracting if doing hd or 2k scanning (attached image with Spirit hd 444 full frame N16, no grain reduction)

You can decide what object you want to render middle gray and meter the exposure from there. I usually seek a middle gray object inside the scene and decide how much over/underexposure I want to that area (object for ex. underexposed by 2 stop when in shadow area) I usually use following technique, especially when in uncontrollable lighting situations: -meter the key side (T5.6) -meter the fill side (T1.4) -decide how dim you want the fill side to be compared to middle gray (eg. 2 stops under = exposure T2.8) -adjust exposure and/or lighting if your key side is too hot or your fill side does not render correctly (I usually light by eye, and make sure the ambience level (or fill side) falls to desired stop)

I have tested it quickly with hyperdeck shuttle, had to switch the camera output to interlaced (psf) mode to get it working. Dont know about other devices. The best feature in the camera is that the camera display does NOT shut off when you use external hdmi devices, I don't have to use those crappy zacuto finders so often :) 5d has better dynamic range, this one has more versatile lens mount...

you can also get a battery plate ( v-lock/ anton-bauer/ np -batteries) with 4-pin xlr-connector if you like :) Just make sure it's right voltage

the common standard is pin 1 = - (ground), pin 4= +12v just solder the wires to the battery or use some 6.3mm connectors