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Philipp Kunzli

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Everything posted by Philipp Kunzli

  1. Hey Jordan. Thx a lot! The "raf" camera one looks really solid. I definitely will try this one out!
  2. Hey everybody I own an old ARRIFLEX 2C including a whole set of Schneider kreuznach Xenon optics... For an upcoming project, I play with the thought about using those. They would be used only little, in "reflections about the past" The film is going to be shoot on an Alexa with PL Mount. Now, is there any Adapter for Arri Standart Lens to PL Mount? Or those that not work about the focal plane? I was looking for it online but didn't find anything solid... Big thx for a short feedback! Philipp
  3. What exactly you mean with latency? Breathing? And since we only shoot nature plattes without pulling focus - what do you think about the leans quality by itself?
  4. Hey Everybody I have a question about the matching of different Cameras and Codecs. We are just considering a reshoot for our feature film which wrapped last fall. The main footage was shot on an ARRI Amira on Log-C. With Zeiss High Speed primes and an Angenieux Optima Style 16-40 zoom. Du to budget reasons, we won't be able to get the same package. The possibility we have is to shoot on an Sony FS7 MKI on Cine3/Slog3. Has anybody any experience how this two codecs are coming together in grading, if we would use the same optics? And what about the worst case option, the Sony 18-110G 4.0 FS7 Kit lens? THX for sharing your experience! Phil
  5. Hey Everybody I have a question about the matching of different Cameras and Codecs. We are just considering a reshoot for our feature film which wrapped last fall. The main footage was shot on an ARRI Amira on Log-C. With Zeiss High Speed primes and an Angenieux Optima Style 16-40 zoom. Du to budget reasons, we won't be able to get the same package. The possibility we have is to shoot on an Sony FS7 MKI on Cine3/Slog3. Has anybody any experience how this two codecs are coming together in grading, if we would use the same optics? And what about the worst case option, the Sony 18-110G 4.0 FS7 Kit lens? THX for sharing your experience! Phil
  6. Hey everybody We're in preproduction for a feature film and start shooting in 3 weeks. I'm wondering if anybody has any experience with a KS-8x8 Gyro on an Amira with a light Highspeeds-lens? Our plan is to mount the camera on a "hanging system" on the back of a pickup and shoot a following car. Our prefer leans is a 50m, the street is straight and we drive around 30km/h... What you guy think, Is the Kenyon KS 8x8 strong enough for this set up, and is it going to "flatten out" any "bumps" and shitter? (It seams there are no 10x10 or 12x12 in Germany for rent...) Thy you guys for your thoughts. Philipp
  7. I think the T-Rex is to big for the model - and it's definitely more in the way of the Opted System. ARRI Cologne has this one and I'll check it out the next few days... Moving the model Instead of the Camera is a nice idea, but as you said, I do think that the boom-up is easier with the camera on the dolly... THX a lot for your support! Philipp
  8. Hey Everybody I'm right now in preproduction for a commercial and I was wondering if anyone has some advice for me. The commercial is going to be one long shot in which the camera "fly's" true a built model-world. Model size 5-20cm high around 0.5m wide over a distance of 1.5m. My plan is to have a GFM Secondo Dolly on tracks, parallel to the model. Rig the camera out over the model by using a U-Banig or similar and use a PL-snorkel to get deep into the built world... Unfortunately we can't afford a remote head or Motion Control. What are your thoughts. Is it possible to "fly" smooth thru the model "only" by manual dolling, (traveling and boom) and operating on a fluid head? Further, what Snorkel lens would you recommend? The cheap one would be the "Periscope Century 2000" with standard lenses. Unfortunately I don't think that even a 1:1 Makro will be close enough... I'm looking forward to hear your thoughts! Philipp
  9. Hey Satsuki - Thanks for your E-mail Of corse, I understand the "trade offs" as you call them. Lens manufacturer have always to make compromises and decide where they're going to "place" their lens on the market. And of corse, I'm aware of the physical conditions that "limit" the building of a lens. I just like the philosophy of Zeiss who offer a small, PL zoom lens... which of corse, cost a few thousand more, but still it's cheap and a great deal. And in that thought I'm curious why Sony or Canon don't consider this direction and offer their cheap lens with a PL mount. Even it would cost a few thousand $ more...
  10. Well - what shall I say What I don't get is the "why" for example Sony and Canon don't offer them with a PL-Mount. As Zeiss with their newest LWZ3 (21-100mm /f2.9 - 3.9 /1,9kg) show, it is possible. Of corse, lens Manufacturer want to protect their more expensive Products, like the CN17-120. But choosing the right lens for the right project, for me it is as important as picking the camera. I shot my las documentary on the Fujinon Cabrio, I love it, I know I'm going to shot on this lens again, but this time it is just not the right one the project... Maybe being less afraid of the competition - and believing more in their own products makes them look more professional and attractive. But that's just my opinion...
  11. Hey Everybody I'm in Preproduction for a documentary Film an we are Looking at different lens Options. The Production Company owns a Sony F55. Since there is a lot of run and gun shooting, I'm looking for a very lightweight zoom leans. Is there a possibility to mount an E-mount lens, like the Sony 18-110 F4.0 on the PL-mount camera, OR is the focal-plane completely different? I didn't find anything on the web. THX a lot for your Support! Philipp
  12. Everything standard... no center crop / 25fps / HD/1080 / XAVC ... and 90°... (S-Gammut3/cine/Log-3) But other then that, I was and I'm quite Happy with the performance and handling of the F5.
  13. ...but a truck passing by at 20-30 miles/hour...? I definitely never recognised distortions like this on the Alexa or Amira... I attached a draft floorpan how the setup looked like.
  14. Interesting... I'll have to check out some different shutter angles. In reality it shouldn't increase the effect... It actually should be more towards the opposite.
  15. The choice for the 90° shutter is a creative one. It's a documentary about catastrophes and practicing how to react during events like this. The movie has "two layers" and in the one during the exercise and practicing, I'd like to give the image a bit more of an edge
  16. Rolling shutter effect on Sony F5. (HD/25fps / 90° shutterangle)
  17. Thanks for the fast response!! Did you recognise any improvment about the "rolling shutter effect". I'm working at the moment on a documentary film and we just wrapped the first two days. I really liked the F5 setup, I just was surprised how bad it handles moving vertical lines... The attached still is a truck passing in front of the camera. It's the back of the Truck and should be vertical.
  18. Hey everybody I was wondering if anyone has experience with sony's official "PMW F5 software upgrade kit"? It enables XAVC 4K & QFHD Internal Recording. How ist the quality and do you think it is worth it? THX a lot for sharing your experience? Philipp
  19. What a day... But that's why I love my job...
  20. I totally agree with you. The FS 7 isn't 2000 ISO! I postet already a quite intense ISO test a few month ago. http://www.cinematography.com/index.php?showtopic=67992 In my experience I shot it 1250...
  21. We're right now in preproduction for a documentary for which we're going to need two cameras. It's an international coproduction and it's going to be shoot in two countries. One Company owns a F5 already, the second one is considering buying a FS7... There are times when we will be shooting with both cameras the same time and there are situation when we shoot a whole scene with one and the next with the other camera. Does anyone have any experience how the to cameras go together. How do they mix? Or are there any special set up to bring them closer? Thanks for your feedback. Philipp
  22. Hello everybody I'm in the early stage of preproduction for a short film. After reading the book and talking to the director, in my opinion, S-16mm would be the right format. I was playing with that thought, told it a few people and just received the offer for five rolls of Vision3 T500 and 5 rolls of Vision 3 D250 for free. Both still sitting in the original "Yellow Kodak Box"... As I asked about "the storage conditions and how come" he told me that they received it due winning a festival seven years ago and since, it was sitting on the shelf… (No fridge - always room temperature) What's your opinion and thoughts about the condition of the footage? Is it worth to consider it and rund a few exposure Tests, or what do you guy think about it? I'm aware that we'd have to expose one or two higher... but still... Thanks in advance Philipp
  23. Hey Everybody For an upcoming shoot, I was testing a few frame rates and so on. Unfortunately I didn't have a IR Cut ND on hand. Since I was going for full open, I sacked a regular ND1.2 and a ND.9 together. The test was shot on the Alexa (first series). I was quite surprised when I saw the footage. The scarf I'm wearing in the image has in real life no color! Thru the whole test footage it has this reddish color. I my opinion quite strong... Is a missing IR CUT that strong? What's your thoughts.
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