Edward Goldner

Hello, My Leicina Special has finally arrived in beautiful condition. The only noticeable setback is the absence of an eye-cup, which is particularly fiddley with this camera in particular given the "headrest" battery back, which jabs into your forehead. Just wondering if anyone knows where I'd be able to get one. I'm also looking to get a Leicina Otivaron if anyone is looking to sell. Thanks for your time!

Hello all, I've recently bought a Leicina Special, which should arrive in the mail any day now. My camera is coming with a Leitz Leicina 10mm Macro Cinegon, which I'm told is a great lens. While I imagine I'll get by quite well with this alone, it'd be great to have a few other focal lengths up my sleeve. I'm aware of the Schneider Leicina-Optivaron zoom, which sounds like quite a solid lens but I have also come across a couple of Dygon-Leica Lenses. Just wondering whether anyone has used them and if so, how they hold up in terms of sharpness compared to the 10mm Cinegon? Also just wanting to confirm that they're compatible with the Leicina Special's M-mount or require an adapter? Any information would be greatly appreciated. Thanks for your time! Edward

Hi James, If you're set on shooting 35mm, perhaps look into: Kodak Vision-2 500T Expression (5229) or Fuji Reala Eterna 500D (8592). I have not shot either of these stocks on 35mm but from that I've read, they're about as grainy as you can go. I believe 500T Expression was used for "You, the Living", which is extremely low-con + grainy ( ). I vaguely recall reading that "Juno" was shot on 500D. Best of luck with your shoot! Ed

Hey Gene, Both the 200T and 100T are great stocks. It's worth mulling over where on the aperture you want to be sitting at. I tend to rate 100T at 64asa and 200T at around 100asa. Not a huge jump in terms of speeds if you expose them this way. Unless I'm going for a grainy look, I tend to aim for slower speed stocks but in this case, I'd find it difficult to see much of a difference in grain structure between the two stocks given the new technology that has gone into the 200T (assuming you're talking about shooting 7213). I also imagine you'll be using an 85 to correct the stock for exteriors? If so, it may be worth considering 50D since you'll be sitting at around the same exposures as you would be using 100T with an 85. Personally, I prefer keeping filtration to a minimum (one less thing to keep track of and makes it easier to see through the viewfinder). Really depends on the location / weather / times in which you'll be shooting - if you plan to go late into the day it may be worth sticking to tungsten as you can pull the 85 if you're desperate and correct it in post. On the other hand, 200T could be a good option as it is quite a flexible speed and depending on your lighting package, can accommodate night interiors / exteriors along with the aforementioned day material. May also be nice to stick to the one stock in terms of matching - that said, most of the newer Kodak stocks match pretty well. Hope this helps. Goodluck! Ed

Hello, According to official Fuji product specs, the following stocks have a granularity rating of: - Eterna 500 = 3.5 - Eterna 400 = 3.7 - Eterna 250 = 3.5 - Eterna Vivid 500 = 3.5 - Eterna Vivid 160 = 3.5 - Reala 500D = 4.0 - Eterna 250D = 3.5 - F-64D = 2.5 I understand that some stocks are older than others but these figures would indicate that (assuming that they accurately reflect grain levels for each stock) different film speeds are not directly linked to the level of grain with Fuji stocks. For instance, Eterna 400 has a higher grain rating than Eterna 250 / 250D. The same applies with the new Vivid range, I am perplexed as to how the 500 and 160 could possibly have the same amount of grain. Any input or explanation into this would be greatly appreciated. Thanks in advance, Edward Goldner

Hi Adrian, You mentioned that you considered shooting on Vivid 160T, not sure if you are already aware of this but Fuji recently brought out Vivid 500T, according to specs, it has the same characteristics and grain rating as 160T so it may be a suitable candidate for your shoot. All the best, Ed

Just wondering what speed people recommend rating it at when shooting daytime exteriors?

Thanks very much for doing that Jonathan! I'm surprised to hear that it's digital!

just found a higher quality clip of the video...

Hello Just wondering if anyone has an idea what stock / lenses / post pathways may have been used to achieve the overall look of this clip. Thanks in advance. Edward Goldner

Hello. I'm about to embark upon my first journey into the realms of 7201 and just wanted to find out whether or not people feel that there is any use over-exposing the stock to reduce grain or whether I should just expose it to 50 ASA since the grain is quite fine anyway. Thanks in advance. Regards, Edward Goldner

Hello. Just wondering if anyone could help me with a query regarding the Arri 435ES. I was under the impression that the 435ES has an existing integrated video system, which only requires an on-board monitor to be plugged in. Upon further reading, I've come across the Arri IVS II and other video assists, which are hired out as accessories and are mostly priced at around $600 (AUD) for rental. Just wondering whether these are actually required to plug a monitor into the camera or if not, why they're necessary. Any info would be greatly appreciated! Thanks in advance, Edward Goldner

there are some really beautiful shots in your reel. just wondering what the stock you used for the black and white shot of the old woman sitting down? keep up the good work!

it's a music video so fortunately audio wont be a factor

Hello! I'm currently prepping for a low budget 35mm project. We will be shooting almost entirely handheld. We're just able to afford the Arri-235, which seems to be the most maneuverable option. We have, however, been offered a generous discount on the Arri-III, which would allow us to upgrade to a set of Ultraprimes (we're currently planning to use Mk3 Superspeeds) and also potentially buy more stock. I have heard that the Arri-III's magazine makes handheld quite difficult, can anyone comment on this? Also, does anyone know how much the camera weighs and what frame rates it is able to do? If anyone has an opinion on why one model may be more suitable than the other, that'd be greatly appreciated. Let me know if more information is required. Regards, Edward Goldner

hi david, we will be colour correcting digitally, it is unlikely that we will be able to afford to any elaborate processing. ed

forgive my ignorance but could you please explain what you mean by 'rated 200'? thanks!

hello all, i've attached a reference photo that we're using for an upcoming project that i'm shooting. just wondering which 16mm stock people would recommend to achieve a similar style (colour, constrast & texture) to the attached image. the film will consist of an interior bedroom scene, which will be lit with daylight-balanced lamps and exteriors, which will most probably be shot around magic hour and will ideally have a warmer, golden feel to them. thanks very much for your time! regards, edward goldner

thank you very much for all your help, i really appreciate it. just wondering if anyone could possibly provide a link to some material shot on the eterna250d as the footage i have come across on the net is generally quite amateurish so it'd be nice to see a professional example of the stock. thanks again. edward goldner

hello all, i am currently prepping for an upcoming short film and am researching suitable stocks. the film will be shot on 16mm with an arri sr-2. the film is mostly comprised of exteriors and daylight-lit interiors so i am obviously leaning towards a daylight balanced stock. it is a 1950s period film and we're endeavoring to capture a larger-than-life, saturated quality to reflect the pristine, fake surface of the time. i have previously used kodak stocks but have not had a chance to play with any of the fuji counterparts. from what i have read on this forum, the eterna250d appears to be the best candidate. just wondering which stock people would recommend. also if anyone thinks that kodak stocks would be more suitable than fuji, i'd love to hear why. just to re-iterate, the main criteria for the stock are: - high saturation - fine grain structure - ideally a higher speed stock if possible (without intense grain) i'm based in melbourne, australia and have not been able to get hold of a fuji pricelist so if anyone has one that they could attach/send, that'd be greatly appreciated. also, does anyone know what fuji's stance is on student discounts? thankyou very much for your time. kind regards, edward goldner

Hello, I'm hoping to get a bit of info regarding the use of 35mm Lenses on 16mm cameras. Just wondering whether it is possible to use Zeiss Ultraprimes or Cooke S4is on an Arri SR-2 (fitted with a 16x9 gate). Cheers, Edward Goldner

Thank you very much for all your replies! Merry Christmas, Ed Goldner

Hello all... Just wondering if anyone knows what Camera(s) and Lenses were used to shoot "Six Feet Under". Cheers, Ed

thanks very much for your help! anyone else... i'm not exactly being swept away with replies here.

Hello all, I'm currently prepping for a short, which I'll be shooting on the Ex1 with a P+S Technik Lens Adapter and Mk3 Superspeeds. I'm keen to go for a fairly sharp, harsh lighting aesthetic that will really push the shape, direction and angle of light, whilst also creating equally strong shadows. The film takes place in a living room during the day with several windows (mostly along one side of the room) acting as light sources. I am fairly certain that lights will be needed to achieve the desires effect as natural light will most probably be too diffused. I've attached a still photograph, which will hopefully give an indication of what I'm talking about. And now the questions... Firstly, what lights would people recommend I use through the windows (I am guessing fairly punchy HMIs, we're on a low budget so anything bigger than a 1.2K will probably be out of our range). I am keen to see clear shapes of the windows as they hit the inside walls and ground. Secondly, if anyone could suggest photographs or films embodying a similar aesthetic, I'd be really keen to have a peek. Last of all, will I be able to achieve a look this stark on digital? I'd be aiming for a similar level of separation on skin tones as seen in the photo. Thanks very much for your time, it's greatly appreciated! Kind regards, Edward Goldner