Stephen Williams

Need help to decide either a set of Cooke Panchro includes 25,32,50,75, 100 or the standard primes 16, 28, 40, 60 *macro, 85, 100, 180. I recently got budget for either set. I have rented the standard prime before. The images were consistantly very good and not a huge different compared to the ultra prime. I heard that the New Panchros are also great but with 1 stop slower. I'm leaning towards the used zeiss considering the set is cheaper and 1 stop faster. But really want to hear what you guys think about these two set.

I appreciate your comments.

Personally I would go with the Pancros, I like the cooke look. You have modern lenses with good lens spacing. 10 years ago you could not give away a set of Standards!

The wide Sandards porthole with digital sensors so you have to stop down to T2.8 or more in any case.

Thanks for the reply. When I said that I almost got burned, it was a call from the director who was freaking because the head room dipped very close to the top of the action safe lines overlaid in After Effects. I asked if he'd tried it on an actual TV but at the time he had not. Never got any angry calls from the client and all of the spots have run on TV to I think Im safe, just wanted to know what you all do.

TV's used to have a huge amount of cut off, so action safe was important. If the clip is used on the web there will ber zero cut off. In any case why should heads not be cut some of the time especially when bald!

I live in the Southern United States and only have cell phone, can't afford to call him, it would cost as much as the adapter.

Sykpe? it's free to a landline

Hey guys,

Quick question for you. When monitoring for broadcast HD output, what aspect ratio do you set your action safe markers for? I did a shoot and almost got burned by the headroom. We fixed it in post but Im just curious.

There is very little & sometimes zero cut off on a modern flat panel.

Does anyone have personal experience with Les Bosher? I have sent two snails over the pas t couple of weeks with no reply. I have a set of the three Konishiroku Hexanon Lenses and would like to know if he could make a Konica Bayonet F mount to Bolex Bayonet mount adapter or even modify the lens bodies but I cannot get a reply, does he just not like me?

 

Sincerely, Respectfully,

Robert M. Ditto

Pick up the phone & ask him!

How old?

Age & Speed of the stock would be usegul to know & how the film was stored.

FWIW I did once use 5 year old 800ISO stock that had not been in a fridge, exposing at 800 ISO it looked like a snow storm!

problems posting

You need to overexpose old negative stock by at least 1 stop, possibly 2 stops.

Lease option...

It will be interesting to see if Red take the same view when the day comes.

Although it has served me well, I am selling my beloved RED.

 

I'm asking $16,000 OBO. If you want the MX upgrade, I can work with you to get that from RED. I am the original owner and the camera is in great shape.

 

Package includes:

-RED ONE Camera Body (#1299 executed)

-RED base production pack

-Non-RED Cheese plate (my own creation)

-RED 5.6 LCD Monitor (1 cable and 1 Israeli arm)

-CF Module with 3- 8GB cards

-(1) RED Raid Drive (1 cable)

-(2) RED batteries/charger

-Nikon mount

-PL mount

-(1) Mini BNC to BNC Cable

-(4) Mini XLR to XLR Cables

 

Sorry... No EPIC upgrade path.

You can't actually sell it until after yout Epic X is delivered or you risk voiding your upgrade path.

And fails miserably... :lol:

Hi Keith

I think it's great news that people with money can go ahead and buy am Epic M, whilst the stage 2 folks who paid a $5,000 deposit a year ago have to wait.

Whats even funnier is they get EVF's when owners of Red one are still happily waiting in line.

I don't think any one here hates RED, we just have a sense of humour & don't take what any 1 company too seriously, life is too short.

I'm shooting a low budget commercial on a 1D MK IV to be screened digitally in local cinemas. Can I just check the correct frame rate would be 23.976fps.

 

Also would anyone know the correct picture ratios for cinema projection?

I think you will find the rate is 25 fps in Europe. 16:9 would be normal.

I'm again and again astonished how emotional the discussion about the RED goes - positiiv as negativ - all around the forums. At the end it's a box with a sensor where you can mount lenses on. Pianists don't talk as emotional about their grand piano. They practice.

 

Cheers

Thomas.

I am not sure many people here are getting emotional, they just think it's all a big joke.

I don't think the BVW700 came out before the BVW600, I saw the 600 before the 700 in Los Angeles.

Hi David,

That explains why the 600 was a flop in Europe, by the time it arrived there was no real reason to buy one.

Stephen

Did some more digging and found a manual it says: 1 edition (revised 1) and it's printed in Japan 1994. 12. 13.

 

I guess that stands for December 1994, maybe we are a bit closer to an actual date.

The first 700 to arrive in Switzerland was late 95, I was at IBC in September 94 and neither 600 or 700 were there.

Duplicate post which I can't delete!

 

 

I'm on a special list of c.com users that must be extra sensitive to the feelings of others if I make any comment regarding Red products.

R,

Hi Richard,

That must be after the 'cartoon' of crossing the line, you as a sustaining member were able to delete some of your posts, money well spent IMHO!

Best Stephen

Can't find an exact date anywhere... This article:

http://en.wikipedia.org/wiki/Betacam

 

Suggests it must have been after 1986 (when Beta-SP was introduced) but before 1993 (when Digital Betacam was introduced.) Since the BVW-600 was the last beta-SP camcorder that Sony built, probably it was introduced around 1990-ish?

Hi David,

99% sure the 600 came after the 700 Digi Beta, it's basically a 700 that records to beta SP, the 700 was at least a year after the DigiBeta record decks so my money is on around 1995/6

Best Stephen

Edit I remember it was after the 700 by several months, I had been using the 700 for several months and wondered who on earth would want a 600 with drop outs that BCSP provided when it was first announced. Very few were sold in Europe.

In 1986 state of the art were tube cameras with Betacam recorders, Betacam SP came a couple of years later well after D1.

Whilst they may well be in range, you should always pull focus IMHO.

This is a pretty newb question but want to make sure I'm reading the DOF calculator right.

 

35mm film

lens 18mm

t 2

distance 15 ft

 

it says I have 28.83 feet of DOF, (5.67 in front, 23.16 behind). so in other words if Im set to 15 feet and my subject moves back to 25 feet and then comes forward to 10 feet I won't have to pull and can just keep my lens on 15 feet since those distance are within my range of DOF and will be sharp?

For God's sake, it's "better than 65mm"!

I remember a very similar quote several years ago from an 'A' list director about an original 'pre release' Red One camera.

That lens would be from early 1960's when the MK II came out, the SB's were in the manual along with the Arg. 25-250 3.9.

I know of a mint set, one of which is really radioactive!

Maybe a wider lens and/or a FOV change could work yes?

As Stewart already said, a FOV change by moving backwards which has the same effect as changing the lens.

It's really a question for the "Students and First Time Filmmakers" forum

My arri 535b camera due to accidental collision, shutter damage, i want to replace the shutter, I do not know where to buy. who can tell me?

Arri?

Hey Stephen

 

I agree, with the right contacts and deals and favors you can make the numbers work either way. I guess I was look at it from a 1:1 perspective. No deals or favors. Just the actual costs involved in each work flow. Our tentative budget is $10M. I'm leaning towards 35mm, however, I've been doing some tests on the Alexa and I'm really impressed with what I've seen so far. But from the little research I've done the equipment rental is almost the cheapest aspect of either of the workflows.

At that budget level, it's really just a choice, do some tests with your DOP & choose what fits the script best. If there was loads of Children, Animals, night shoots, green screens I would probably go with Alexa, however I generally prefer film & work with low budgets.

It's one of those things where you can make the no's go any way you want. I know 35mm features shot with a photochemical finish where the crew got paid for $100,000.

What's your budget, what sort of Digital do you want to use? Alexa, F35, Epic or EX3?

Hello everyone,

 

This is my first time posting here, so I hope I'm doing it in the right place. I'm up for a feature and I wanted to do a cost analysis on the work flows of 35mm film Vs. a digital work flow. The film will have a theatrical release both domestically and internationally. Can anyone point me to a website or information source that would help me with this task?

 

Thank you

Thanks Mitch. But I don't understand your analogy. I asked for "opinions" of which looked better. As a matter of fact, there are plenty of situations where an opinion of which would look better -- green or yellow -- would be useful.

The first one fitted better to the lighting & look.

The shallow DOF was hardly shallow in any case....a compromise that failed.

Does it matter either way? No not at all!