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Philip Reinhold

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Philip Reinhold last won the day on January 19 2018

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About Philip Reinhold

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    Berlin, Germany
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    Bolex H16

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  1. but this is evanglism from your side btw. however… i do care on the choice of formats and i do respect the choices of others. But i don´t like when people do "anti" film propaganda… cause this ends in dump discussions with producers… just to remember, thats what i wrote: "not saying that this trailer does look terrible but i got distracted by the look. And i loved wide-angled shots chivo does on the prior mallick movies." just means that i got distracted by the look -. thats what the look does to me however what it was shot on. I do personally like all mediums digital & film and i use mainly the alexa for tvc/advertising work. But i still see many reason for both formats film & digital nowadays 2019. And I can´t understand why people propaganda digital as be as same as film…or saying that there isn´ßt any difference (what you clearly said above) there is still a differnce and i can tell you from many many telecine & grading sessions. Also a reason why many cinemato and photographers still use film. And no i am not a Film Fanboy… But saying there is no difference isn´t the truth. And yes its a CInematographers Forum we still should discuss about that! But enough for now… sorry for getting this out of Topic.
  2. Yes cool! So however… i do care and in my opinion the look of the trailer is distracting me from the story.
  3. Uff… there is no "best" living DP. (That was my quote for your " even top DP,s can't tell.. " ) thats really Fanboy talk… however… even if i like some of rogers work im sure he would agree with me that film is an art form… and our tools are the Artists choice and there is guranteed a visible differnce between analog & digital - and thats also a personal taste not a rule. As you can see in this discussion already.
  4. What´t that for an Answer? Roger is one of many? he just gives his opinion and his opinion isn´t everyones.
  5. I wouldn´t agree with that! However digital is good these days, but im sure even the best DP´s can tell the difference… and it can totaly distract the audiance when a period- movie looked like that… not saying that this trailer does look terrible but i got distracted by the look. And i loved wide-angled shots chivo does on the prior mallick movies.
  6. Hey, selling my Backup Color/Spectrometer Sekonic C700 Spectromaster. It is in great rarely used condition. Doesn´t even have signs of use. 1000€
  7. just shoot somehwere in the UK… there is a good chance of rain!
  8. Hey, im selling my Arriflex 16SR T-Bar with B&W SD Videoassist CEI VP III B&W (NTSC). Also i´ll add an 5" Transvideo SD Rainbow (PAL/SECAM/NTSC comp.) Monitor with sunshade. Tested, cleaned & working! And in good condition! The Videoassist covers the S16 Mattescreen only around 90% but if you squeeze it it can Cover a squeezed 98% of Super16 1.66 Mattescreen. All together as a Set- 1000€. Pick up preffered. (Berlin) But can ship it as well! Best, Philip
  9. Hey Gerogia, Normal or Super 16mm? I´ve a SR2 with N16 B-Mount as sparepart backup for my Super16 SR´s here. Super16 SR´s Bodies in good condition go for over 8000£ + these days since prices have skyrocketed in recent months and still go higher. Cheers, Philip
  10. Hey im looking for a Lightweight Rod support 15mm for my Arriflex SR2 (LWS-1-2 as example) Accept any of them which can be setup to super16! (SRI-III) Cheers!
  11. This is because your Mount is missing the Metall- Ring which usually keeps the Iris/Focus Gear in place which older SR´s had. As long as you can Focus to Infinity you won't have any problem. See Picture below!
  12. Well I just figured out that you can get an HD- Videoassists for Arriflex SR1/2 for "relatively" cheap you use the T-Bar or Top-Handle Beam Splitter… Tyler do you mean Indiecam? They do only build an HD assist for the Arricam Studio. (Which is a great one btw. and makes modern AC´s & Clients Life on Set ways easier!) Back in the Days when I worked as Loader & AC i loaded up to 30+ Mags a Day… It never feels difficult or that I should need an "Cartridge" to load & unload. An Arri/Aaton Mag can be loaded in Seconds… :-) Less Plastic… Less Rubbish… Cheers
  13. I think the best way to avoid moire & aliasing is by using cameras with optical anti aliasing filters. I´ve no glue about post-production solvings but im sure there are some ways which can reduce this a bit - like chroma noise reductions?… however you´ll lose detail resolution. Most professional digital cine cameras by arri, red & sony have internal olpf filters to solve that issue. Since you said 4.6k - i guess you´re using a Blackmagic Ursa camera right? They don´t have an internal lowpass Filter. But there are good 3rd party options for it which are worth their money (especially if you like to shoot in portugal with all the beautiful pavings, tiles & details ;-) ): http://www.mosaicengineering.com/products/vaf/bm/umpro.html
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