Scott Pickering

Has anyone shot with these lenses on a full frame, and also a crop sensor, giving a 2:1 aspect ratio? What were your results? How is the sharpness in this mode vs shooting stock spherical lenses and cropping in? How will these lenses resolve when shooting in 8K resolution (or even 12K on the Blackmagic) for full frame and crop sensors?

It makes me wonder how they came up with the idea that IMAX 15P is 18K in resolution, or the IMAX film print at 12K, based on what I read here? It makes me wonder why 8K laser projectors for IMAX have not yet come into existence, even if its 2 projectors stacked. Certainly the quality would be unmatched at that point. Currently there is no high rez camera at the true IMAX frame ratio of 1:44 to 1. All sensors today seem to be either 16:9 or widescreen 2.20 to 1. Im surprised this hasnt been designed yet.

Im aware FotoKem has the capability to do 8K film outs onto 65mm film for both 5 perf and 15 perf. I was told for Nolan's films, they only did 4K film outs for IMAX on films needing that. That said, Im wondering if they'll ever design a modern filmout machine to do 18K film outs to 65mm film for IMAX? Im told the resolution off the negative itself is 18K for 15 perf. Of course it gets dumbed down to 12K on the final film print. Since new 16K to 17K video cameras are coming onto the scene, shooting on Digital and filmout to IMAX film would be a possible option to show your films in true IMAX format. They do not yet have a 1.44 to 1 16K digital camera yet, but the ones that are 16k, are widescreen. Could someone not design a film out machine to get the full 16-17K digital file (whether from scanned film or from digital camera) onto the negative? I know the cost is expensive, but i see this as the future of technology advances. It seems redundant to only output 4K onto an IMAX frame, since its capable of so much more. And computers are getting faster these days, being able to handle these such high rez video frames. Look at what they are doing with the Vegas Dome. Shooting on digital and output in full rez to IMAX film would be another option, when shooting on 15 perf film isnt always an option. If they wont do 16K to 18K film outs, then at least 12K. At some point those old CRT film recorders at IMAX are going to give out, so they need to work on their replacements too.

Another question. You mentioned DZO lenses on the 17K. What about Sigma Aiza lenses? Or using the EF mount and adapters, what about Pentax 67 or 645 lenses, or even Mamiya 645 lenses? Any good EF lenses? Which lenses have the best color, as i find lens coatings on some lenses can muddy the colors a bit. Going Pentax 67 or 645 lens could be a fairly cheap option, though I dont know if they'd resolve a 17k sensor.

Since all they are doing is producing the image onto a high rez TV, and filming that with the camera, could I technically not do the same thing myself? I have an 8k tv that is 65 inch and it has many modes for color from dull to high contrast and all in-between. It would save me the cost to get a lab to do it. I could even transfer the whole film that way. Anyone do this themselves and what were your results? My TV surely has the rez for it.

I dont want it on a color interneg film to be honest. Cinestill can output to actual 5222 B&W stock, so you get the tones, and film grain of actual B&W film. Interneg kind of defeats trying to get the B&W film look for those dream sequences in my film. I might even output to 16mm instead of 35mm for a more exaggerated effect. I haven't decided yet. My film is still a few years off, if not sooner, and all depends on if I can lock down the shooting locations I'll need to use. If not, then my project is basically shelved.

I thought I saw a conversion thing from Blackmagic that allowed CF Express cards to be plugged in there? I could be wrong, but I remember seeing something for that. Application is to rescan the B&W negative to get the look of true B&W film, and scanned in 8K.

Im starting to swing going the more expensive route on this. I might just jump for the Ursa 17K camera. That brings up a question on lenses. Do the above that you mention resolve enough for that 17K sensor to be useful? And do they cover the wide sensor as well? What about Canon EF lenses? I've seen video samples from the 17K camera and worked with them a little to see how the workflow goes. And Im blown away at the image quality and depth to the image. Its very 3D and wide shots with very tiny people in it really makes large format video shine. And on a different note- for a B&W film out (Cinestill) to actual 35mm B&W negative film, what resolution do I need to be at for scope 35mm? Its the full academy frame of course. I'd just squeeze the digital video file (converted to B&W of course) and they can put it on the film that way. Or should I just keep the video in color and let the B&W film do the B&W conversion?

Any recommendations for anamorphic lenses with 1.6x squeeze that won't break the bank?

Sirui Venus T2.9 1.6x 5-Lens Kit with Hard Case (35/50/75/100/150mm, L-Mount) Tyler (or anyone)- whats your thoughts on these lenses if using anamorphics and resolving power?

Tyler. You've seen lots of work in 65/70mm. If shooting in 12k and downrezzing in post to 8k, what lenses are going to give you the look in terms of rez as a 5/70 print?

I'd have to do a sole proprietorship as we don't have LLCs in Canada.

Thanks for your thoughts guys. Good info too Tyler. Looking at the Cine 12K, the body itself is only 3 grand more here in Canada, but its the accessories you have to buy to use the Cine 12K which is killing it for me. And its only in EF or PL mount. The batteries on the Pyxis are fairly common (BP-U) and cheap enough, and the chargers arent much. I already have some CF-E B cards that I use on my Fuji camera. Lenses are easy to find when using L mount (many adapters). When going the Cine, the prices of the needed accessories ramps up the price to basically double. The Pyxis is more budget friendly. Hard to say what camera they'll put out in a couple years time. If you were using the 12K camera, to get the best 8K image, would you let the camera downrez to 8K right off the bat, or is it better to downrez in Resolve? How soft is the sensor really? Any links to tests I could look at? Another question I'll ask which has nothing to do with gear. When paying your crew/ actors, what is the recommended way of giving them payment, if this is really a low budget film? This might be out of pocket for this. Or do you absolutely recommend registering a company for the 1 year it would be operating? It wouldnt be incorporated of course. This whole feature may be a one off, as no future plans to make more films down the road, unless somehow this first film does make money. But it may not make any. Its just a labor of love to do this project.

In the next few years or so, Id like to shoot a feature with a small crew here in the Fraser Valley BC. My main issue is finding ways to shoot at specific locations, which may scuttle doing the feature if this isn't solved. Whether we are allowed to shoot in a store location, or have to fabricate one somehow on a set, I havent figured out yet. Once that is figured out, and the money to shoot becomes available, I'll be looking for a small crew and non union actors. This is a very low budget film, so most of it will take place inside or around a store location. I might end up doing the camera work myself, but also hiring a boom operator and a lighting person to work with myself on DOP work. I have a friend who works in the Industry in Vancouver, and he has offered help for this feature. For now the script is being worked on, and will continue to do so up to the point of preproduction. I might end up directing as well, or co directing with my friend. I have a pretty clear vision of what Im after as far as the story and what I'd like from the actors. That all aside, I've been looking at the up and coming Blackmagic Pyxis 12K to shoot this feature with (since Im very low budget), and it seems to fit the bill. Im aware of the reliability of Black Magic cameras while in use on productions, but Im not sure the company has made strides to improve this area today? I will be using the 12K mode, as the final file will be in 8K for delivery. Im aware 8K is not a well used standard, but at least Youtube has accepted its use. If the film ever did well enough to bring in some money, I'd consider getting a film out print in either 35mm or even 65mm. I know there really is no lens that will resolve 12K, and may even struggle for 8K. Someone suggested 160 lines per mm for 12K in what the lenses would need to resolve. But they also said the softer look you'd get in 12K with most lenses (it sharpens up downrezzing to 8K), gives a film like look. The Pyxis 12K uses the same full frame sensor as the Cine 12K. This sensor claims to have 16 stops of dynamic range, and the color off these sensors is very good as well. I think most lenses resolve around 50 lines per mm. Im thinking to get the L mount version for auto focus at times when I need that, especially when its just me shooting and Im in the shot. I dont know if there are any recommended L mount lenses anyone would suggest? I have read to really make use of the sensor I'd have to use expensive CINE lenses. I could also shoot in anamorphic to use the full sensor for better resolution, but Im not sure what is not too expensive to get for this camera? I'd probably have to get the PL mount if I went that route. Is there such a thing as PL mount autofocus lenses? Im not aware if there is. I dont think PL uses any contacts either. Has Adobe Premiere Pro improved its RAW conversion for BM, or is it still worse then Resolve? What lenses, whether spherical or anamorphic, would be recommended for the 12K? Which lenses give a cinematic look (I know these two questions are not the same result). I might use a Fuji XH-2 for secondary camera work (in 8K), since I own this camera. Any comments on Blackmagic 12K cameras for their use or output? I'll probably get a few 4TB CF Express B cards for daily shooting.

It seems Niagara doesnt use a laser out, but a screen. Not ideal. Cinelab uses a laser to 16mm. Not sure they do 4:3 16mm or if it has to be Super 16? What is the rez of the files to go onto the film with them? Is it basically 2K or can you do 4K files for 16mm?