Clayton Haskell

Greetings,

I had the pleasure to recently shoot on a pre prodiction EPIC-M camera (#008 Ketch Rossi & Steve Gibby) and wanted to share some footy. I figured now would be a good time since we kick off NAB today. Here is some EPIC 5k footage shot at 120 fps and compressed to 1080 and uploaded to Vimeo. This is a teaser from a short film by Summer Rayne Oakes and myself. Keep in mind I did a very quick grade in redcine, dropped the blacks with a curve and left my highlights the way I intended. I was going for a blown out look but was amazed that with the Raw files I could bring back any of the highlights, nothing was actually clipped. The UW housing was built and provided by Michael Hasting of Aquavideo and the EPIC was made possible by Ketch of Ketch Rossi Studios. I want thank all the above for the support and helping make this shoot possible. Having had a glimpse of the future I can safely say that things are certainly looking up for RED and the world of digital cinema. I will follow up with a review soon but this was an incredible experience to say the least. Come back soon as I will post some R3Ds, BTS stills and video to follow. Cheers and see you at NAB.

Vimeo

youtube

In memory of Tom Eisner (June 25, 1929 - March 25, 2011)

Staring and Written by Summer Rayne Oakes

Director & DP: Clayton H. Haskell

Camera EPIC-M 008: Ketch Rossi

Gaffers: Timur Civan & Jim Jones

1st AC: Alex Martin

2nd AC & BTS: Mark Weston

Production Assistent: John Mitchell

Music: Natural Blies by MOBY

Please PM me or email via clay at haskellfilms dot com if you want to let go of this lens.

I would like to add that I am looking for Cooke 10.4-52 as well. Cheers.

Hi folks,

 

is it possible to convert a 5.7mm Kinoptik that's currently in Cameflex mount to Arri PL?

 

Thanks, Dave

Did you ever manage to get it PL mount converted? Anyone recommend a good optician who can affordably switch arri standard to PL? I need a conversion done on the same glass. Thanks.

Some of my favorite "Shot on RED" projects originated from anamorphic glass and I have seen countless hours of RED footage. The new beta build 18 supports 4k anamorphic and you now can see the image un-stretched in the RED LCD, has anyone shot anamorphic on this build and care to share your experience with it?

Also I have partnered up with a new company in NYC and we just acquired a new set of Hawk anamorphic lenses if anyone is looking for them then don't hesitate to send me a PM or email me.

cheers.

C.H.Haskell

Regular 16mm neg is 10.26 x 7.49mm. So the A-cam sensor is basically the width of 16mm, but because it's 16x9, not 4x3, it's less tall.

Thanks for clearing that up David. I have been wondering the same thing and I have decided that sticking with super 16 glass is the best bet as its safe to say the a-cam dii is a digital super 16, or close to it. ;)

Greetings,

On the market for some Optar illumina primes, looking for any of the 6 primes so please email me your offer to clay at haskellfilms dot com.

cheers

Clayton Haskell

Director. DP