Stephen Williams

If you do go higher than 60 fps, it will sound like your taking off in a helicopter. Might need mags designed for the III vs. the older 2C mags as well.

2c's went to 80 fps, I think upto 100 is no problem. With the 435 you can use old mags for 120 fps.

Any thoughts of this by anyone? I just won it!

 

http://www.ebay.co.uk/itm/330754501670?ssPageName=STRK:MEWNX:IT&_trksid=p3984.m1497.l2649#ht_638wt_1141

Looks fine, not sure if it was a bargain or not!

Thanks Stephen, you seem to reflect what I've heard others say in the past. But can you be more specific about how much slower they can be than a 1.3? I mean, are some a half or even full stop slower? If its something like 1/8th of a stop I really can't be bothered to care. But if some super speeds are more like a 1.8 or 2 it really does help effect my decision towards something like the master primes.

 

I get the footage back this Friday, fingers doubly crossed...I'll be sure to post some stills. Thanks everyone

IIRC 1 or 2 of the lenses in the set were about 1/4 to 1/3 stop slower than they should have been.

Hi Evan,

 

Zeiss lenses are always accurately marked, Super Speeds are most definitely f/1.2 lenses at their widest geometric aperture. In pristine condition that translates to T1.3, though i guess if the element coatings have deteriorated (multiple fine scratches on the front element for example) some of the light that would have passed through will be reflected back instead, fractionally altering the T stop.

 

If only that were true, if you test a set of SS, some but not all of the set are as fast as they say.......Even when new!

In terms of refraction, can I shoot nice clean image's at 90mm f22 on 645, I know on 35mm they say don't go to f22, ideal is f16 does that change for medium format? The lens can go upto f32 and the other lens f42

I would not go past 8 or 8/11 on S35.

Canom K35's are sharper than Super Speeds wide open & they will flair, give them a try.

Shooting at 12 fps will be fine if nothing is moving in frame.

Hi everyone!

 

I'm shooting a music video in Miami this coming weekend on 5219/arri 435. The film is to be shot entirely at night under minimal lighting conditions (neon signs, etc.), because of this I want a lens with the widest stop possible. My choices are the master primes or the super speeds, both 1.3. Now heres my problem:

 

I want the sharpness of the Master Primes, but they don't flare whatsoever. I really love the way the super speeds flare when a point source hits them. They have this white/blue ethereal glow to them that I think will help this music video. But they're not sharp enough. So I guess my questions are:

 

- Can I attain a "super speed flare" (or just a pretty flare/glow effect in genereal) by using Master Primes and some form of filtration? And if so what? I was thinking maybe a fog filter? I know kaminski uses these but I have absolutely zero experience with any form of filtration. And -- will using some form of filtration negate the sharpness of the master primes anyway and then I might as well just rent superspeeds?

 

- I've heard the superspeeds aren't a true 1.3, though both sets of lenses open to 1.3 are the masterprimes actually more sensitive? If so is there a drastic difference? (shooting on film lowlight I'd really like to avoid much underexposure so this is really important to me)

 

- Last question (unrelated) , I was considering shooting some night exteriors that don't involve acting at 12fps so that I could get an extra stop of exposure. I can't imagine there being any problem with this but I figured I'd throw it out there incase anyone has any advice/horror stories etc.

 

Hope that all made sense, sorry for the long post. Cant wait to hear what y'all think. As always -- thankyou!

 

Cheers,

 

Evan

Very true phill, but the downside is obviously you're 50mm isn't going to be a genuine 50mm on the 7d. your going to need a wider range of lenses.

A 50mm lens is always a 50mm lens, which on S35mm Film cameras / RED / Alexa / 7D will be a slight telephoto, a 'standard' lens on all of thease is about 32mm.

For the last 30 years a 'standard' set of primes has been 18 - 85mm

I always enjoyed the film rushes, they were much more exciting to watch than a video recording.

You could actually see focus, which is IMHO one of the main things that needs to be checked. SD rushes was a huge step backeards.

I mean that it would be annoying to watch rushes that didn't give you an accurate representation of what's on the neg. I guess they got used to it, but anyone coming from abroad might well be thrown by it.

 

And of course you couldn't adjust contrast or image position - things we take for granted now. Or frame rate, or....

 

:D

I don't think anybody ever did think rushes in B&W were an accurate representation of what is on the negative, in any case colour print stock was limited to about 7 stops, rushes on video 10 years ago ahowed even less!

Optical printing was used to change frame rate, adjust frameing & would generally increase contrast.

You choose the DOP as you trusted he knew what he was doing with lighting, the operator would frame the shot, no video assist! It's amazing people managed without help from video village! Too many people get confused by looking at a small screen & just make a show that looks good on TV rather than a big screen.

That would be annoying!

It's only rushes, not a graded print! Of course you could not adjust saturation easily like today, 3 lights that was it!

A 1960's American production probably would have got processing done at Technicolor Rome or some other Italian lab.

 

There might be a grease pencil "X" over the slate clap if dailies were synced and run in interlock with sound.

 

The question for me is whether some color movies were getting b&w dailies -- see here:

http://www.cinematography.com/index.php?showtopic=21291

Dalies would likely have been screened early in the morning the following day, picture only without sound. I never heard of any synced dalies, no time & no point!

There is a good chance that the 1st take was in color & the rest in B&W.

As dalies are a print everything is the right way round!

Start of take:

 

 

 

Nineteen seconds later:

 

 

 

"Fly in a silk," I hear you cry.

 

"Ha," replies budgetary reality.

 

You will notice that this is take seven.

Zurich is far more reliable for overcast weather!

Really?

There are a huge no of Emmy's it does not mean anything.

Do you have to format the harddrive on a red in order to get a high frame rate and aspect ratio? Example: I want to shoot at 120 fps but this is only available at 2k ana or lower, do I have to format the harddrive before shooting thus making it a scheduling issue because of the amount of harddrives we have?

No you don't, just record it's only a file!

What is the best way to get focus on the RED? Measuring, or focus overlay, or focus assist? Or another option?

If everything is set up then measuring, fowever Back Focus is adjustable so looking 1:1 just to confirm when you do your tests is a good idea.

Im lighting tabletop with various jokers and litepanels. For some shots I need to shoot with my shutter at a 250th of a second or a 500th. When I use the lightpanels i don't get a strobbing effect (or at least a rolling bars effect) when shooting with narrow shutter. When I use the jokers I do. Sometimes I need to use the jokers depending on the situation. So anyway, whats the solution here? I've put the shutter in "angle" mode but i still can't find the exact right shutter speed to avoid the rolling bars effect. I know jokers need to be shot with shutters that are divisible by 3 or 4 cause the voltage frequency is 120, right? Anyone know a shutter angle i can use that gives me an exposure of about 250th and also one near a 500th that won't give me rolling bars when using HMIs?

 

thanks

Exposures of 1/500 will be a problem with small tungsten lights (2k or less) & HMI's may well arc. Anything over 96 / 100 fps can be problematical & you need to test what exactly works in the exact situation.

Just looked at the latest Aston sheet for the digital Penelope, no doubt just out for NAB.

 

http://www.aaton.com/files/delta-p_april-2012b.pdf

 

The interesting bit is how they're achieving the camera's lower ISO rating by using a multi slot shutter with a 100 ISO setting, so avoiding the use of ND filters. I was wondering how they were managing it. I expect there'll be a lot of testing for artifacts from this new arrangement.

The 100 ISO shutter looks like a very clever soloution.

Hello all. I recently purchased an Arri 35-3, and will be needing batteries for it. I need two batteries, one

as a primary, and one to use on the CE base when doing high speed.

 

Can anyone suggest battery choices and where to find them? Do I need two identical batteries, or can the secondary

battery (for powering the CE base) be a lesser battery?

 

Thanks so much!

 

Micah Ginn

Get 2 sealed lead acid 12v, by far the cheapest option.

What are the parameters for RED in Low Key lighting?

What do you mean? shoot as contrasty as you want, it's art not a technical thig.

Hi,

 

I am about to add a Canon 8-64 super 16 zoom to an XTR package, and I was wondering about the generations of this lens, and what to look for in terms of serial numbers etc. Does anyone have an SN list, and can anyone clarify whether is is 'mark" denotation that I should have my eyes peeled for? Saw one older looking lens referred to as a Mark 1, and I would ideally like something a little bit newer.

 

Thanks,

 

Isaac

IIRC the first were black, then Grey. It was replaced by the 7-63 about 10 years ago.

Eh, just for me to understand - Isn´t a Dino with it´s red 32A plug (thats how we´ve got them in germany) connected to three different phases anyways?

If i am right, what do you mean by putting each third on a different phase?

 

Thanks, Jonas

If it's on a Red CEE plug then it will be on 3 phases, make sure if you dont use all the globes that you still split the phases.

Hi everyone,

 

I am shooting a noir - styled film on the RED ONE MX and wanted some feedback as far as contrast ratios and how far people with experience have pushed that. I've shot on the RED many times, but I haven't done noir too much - and am not quite sure how far I can push my contrast ratio with lighting for it. Any suggestions or help from experience would be much appreciated :) I know since it's the RED I should probably do some tests and figure out how black I want my blacks and mess with it in color and redcine, but for now I just wanted some feedback of maybe some of you who have already used high contrast ratios on the RED for noir, or darker scenes. Ultimately - I'm trying to figure out how far i can push it while keeping details in my shadows.

 

Thanks :)

-zach

Just light it so it looks right to your eye, don't use any fill. Then turn on the camera & shoot, if it looks right it is! DONT overexpose so you can see everything that is not what you want to do.

Thanks for your insight, but I knew that already. I was just hoping someone who actually had used this exact lens could tell me that it is normal with the Sigma. As, was said above, that's one of the reasons why pro cine lenses are so expensive in comparison.

 

Two such people, having experience with this Sigma 50-500mm lens, answered my question on the RedUser Forum, and verified my suspicions. Their lenses do exactly the same thing.

 

Therefore, my question has been answered, and I appreciate all those who helped.

 

Thanks.

 

.

Of course they don't do what you want, they are cheap STILL camera lenses, they do what they were supposed to do, not more. There is no free lunch with optics.

Shortest route possible, producer. Get the money and you can write your own ticket to do anything you want. ;)

 

R,

That was your route, you even made money on the first film!

There is a reason that real motion picture lenses are very large, heavy & expensive. You get what you pay for!

At the advise of others, I have purchased a Sigma 50-500mm Zoom Lens for use on our Red-One Camera. It is a beautiful lens in mint, like new condition. This is the model without the OS and with an aperture ring for external control.

 

I just want to know if any of you who have used this lens on a movie camera, are having the same issues I'm having with it. Therefore, my question is this:

 

I have owned or used many, many lenses in my life, but never one quite like this. It was obviously designed for still use, but most others made for still cameras do not have these restrictions.

 

This Sigma lens does NOT hold focus throughout the zoom range. In other words, when focused on the subject at full extension, as you zoom back it goes in and out of focus. No, it is not the back focus adjustment on the camera lens port. As such, this lens can only be used theoretically as a series of fixed lenses and has to be focused at each separate focal length.

 

If this is normal for this lens, then so be it, and I can live with it. I was hoping I could use it as a zoom lens as well though, but if not, OK. It would be more like having many different lenses all in one.

 

Another thing I noticed. Most zoom lenses, when an object is too close, you just can't focus on it. But, with this Sigma it "jumps" out of focus when it's past the zoom range it can handle. For instance, it will focus at 300mm, but as soon as you've passed that, to 350mm or beyond, it "immediately" goes super-soft.

 

Are these things typical of this lens? Is it just the norm because of the design?

 

If you have any knowledge and experience with this lens I'd appreciate knowing if you have the same issues.

 

Thanks for your time.

 

.