Paul Watt

Sure, but it's more than 2k.

I'm just saying that the storage requirements are not all that different. If you're making a decision based on storage, you might be looking at 30% to 50% more in storage costs with a Dragon as opposed to an Alexa.

According to the rental house I was at last week, they said 12:1 6K was perfect for anything other than heavy VFX. That seems to have been backed up on Reduser as well. I often shoot 8:1 5K on the Epic MX and it looks great, and they say the compression is much better on Dragon - less noise from sensor etc. So it seems pretty plausible to me.

So, just to clear up this misconception about Epics using so much more storage space than Alexas, At 6K 12 to 1 compression (which is what a lot of people are shooting on Dragon) you get about 40 minutes from a 128 Gig card. On an Alexa you'd get about 55 minutes at 2K ProRes 4444. If you shot 5K at 12 to 1 you'd match the 2K ProRes 4444 for record times.

Would Japanese style wall dividers help? If you placed them in a straight line you might be able to bring one wall, while adding texture and colour. If you could bring in your ceiling by placing either hanging lights or a fan into the frame it would compact the scene a bit. Or fill the white space with artwork, some furniture, maybe a tall desk or whatever.

No-one's mentioned commercials for some reason. They make a ton of them, they shoot all over the place, they're fun to do, pay well, and you meet tons of new people each job. It's a good way to get tons of experience shooting different styles, and with different gear.

As has been stated farther up in the thread, shoot film if you can. It'll be gone someday. I suppose I'll enjoy not stressing from when the can's closed to when the transfer is done. But I'll also miss that stress, in a sick way. Not knowing exactly what you have right away adds something to the process, I think. Basically, film is really f***ing cool. Digi will take over, and maybe it's the solution for lots of people now, but it is a bit like McDonalds, Walmart, and Sony. Large corporations that invade culture, and redefine it to make their fortunes. If making films is art, then maybe we should choose our tools to reflect our art. For a while anyway.

Rex 5 converted to S 16 and SBM by Jean-Louis Seguin. With Les Bosher Bayonet to Nikon Adapter. Gets it's first test on Wednesday.

late addition I know. We used a computar 6mm on a bolex SBM with a c-mount adapter, then transferred the footy at Toybox in Vancouver on a 4k scanner. The tech was blown away by the quality of the $100 lens, and so were we. No collimation was needed with lens at all. Perhaps we got extremely lucky.

Hey, Steven. I'm doing the same thing right now. I got the mount converter from Les Bosher, and Jean-Louis Seguin is doing the conversion in Montreal. I've been struggling with the decisions on what lenses to get. Sigma makes an 8mm with a manual aperture f 3.5 which looks to be a pretty good wide. They can be found for around $650 on ebay. There's also a number of good 16mm lenses available. I've got a Tamron 24-135 f3.5 - 5.6 that I'm hoping to use a lot. Not all zooms are parfocal, but this one is and although not all that fast, it will be good for outdoor bright light I'm hoping. It's got good contrast and sharpness, and it is a great deal for the quality in my opinion. Good luck, and let me know how it goes when you test the camera.

Hi. I too am getting my Rex 5 hardfronted with a bolex bayonet mount and converted to s 16, most likely by Les Bosher in the UK. I was hoping to use Les's Bolex to Nikon mount adapter and put on a Sigma 8 mm, and a Tamron 24-135 zoom as well as a few others, but wanted to see if people have any favourite lenses they use with the Bolex, and what problems they've had with any specific ones. Thanks!