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Philipp Kunzli

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Everything posted by Philipp Kunzli

  1. Hey Tyler, Can you say what kind of Projects your friends were shooting? I'm prepping a Documentary and thinking about buying a KOMODO. I shoot my last few "Doc's" on a Sony F5 an FS7 or Amira, always rentals, but for this new project, it seams right to buy a camera packet. And I don't wane shoot on a FF-Sensor. (So FX6&FX9 are kind of off the table.) Big Thanks for your answer
  2. Just that I understand it right... they used the 5K Crop Area and recorded 4K?
  3. HEy Everybody Has anyone any experience with the 4K S-35mm Crop on the Sony FX9? I'm planing to buy a FX9 but the first project im going to shoot is a 40 Day Documentary. Since it's a small production/team (director, sound, camera) and it involves some "run and gun", I'd rather not shoot FullFrame. Also I'd love to use my Fujinon MK18-55 T2.9 with "only covers S-35mm. Can anyone say something about this Crop? Is this 4K quality as good as the FS7 4K footage? I'm really looking forward to your answers... THX a lot in advance and take care. Philipp
  4. Hey everybody I'm in Preproduction for a feature length Cinema Documentary on which we're going to have around 40 shooting Days. Has anyone any experience in shooting Documentary-style with the Komodo? Its going to be a mix of shoulder & tripod and some long take(60Min) Interviews... The team is just very basic. Director, Sond-Guy and myself on the Camera. (The setup would be the Komodo with the Fujinon MK18-55mm T2,9) I'd love to hear your thoughts. Philipp
  5. About the "water blow out" – There is no doubt about that! But economically it's just also a different league. 35000.–€ to 8000.- including the RAW Recorder... And in addition It may sound old fashion, but I rather invest in good glas. I do believe that on this level it will make the bigger difference. Meaning spending 35'000 on a amazing camera but mounting some "Stilllens" on it or having a good camera with a 20'000.-€ lens... Or what are your thoughts?
  6. I just have heard from different sides that the fx9 still "walks in its children shoes".. that were are still quite some issues considering its reliability and the the "greenish" tone as you mention... So for me, going in to a 40 shootingday documentary, I feel like I rather go with the proofed and reliable "old" camera instead of going for the "funky" new one... But maybe I'm just to old fashion... ;-)
  7. Hey everybody I'd love to hear your thoughts on buying a used Sony F55 (incl. RAW-Recorder) for around 8000.-€ First of all, the data Handling of the AXS 4K RAW files. a few years ago I shoot a short with this system and as I remember it was quite a "handful" working and handling this huge files. What do you guys think compared to a FS7? Does anyone has experience about the its image quality compared to the Sony Venice? (of corse beside the full frame sensor!) Venice: XAVC 4KClass 480 compared to F55 XAVC (AVC/H.264 High 4:2:2 Intra Profile) 4K: VBR, 600
  8. Hey Everybody I'm looking for some thoughts or advice considering purchasing a Camera for an upcoming documentary. For this film (around shooting 50 days) I'm planing to pay one of the following two cameras. A used Sony F5 or a new Sony FS7 II. Facts are: that I shoot already a documentary on the F5 and I really liked the compact size, which includes everything also a TC Lock. Additionally I really like the Color management Handling. This is just more "hands on as the on from the FS7. The same Time is the F5 already almost 10 years old. But, as far as I know it has still the same sensor as the FS7. What I don't like on the FS7 is, that with its V-Mount adapter it's massive and you need that one for the TC -Look... Maybe one of you has some more insight and shares his thoughts.... And to make the whole thing even more complicated... What if we would bring an used F55 on the table... Thanks a lot. Philipp
  9. Hey Jordan. Thx a lot! The "raf" camera one looks really solid. I definitely will try this one out!
  10. 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
  11. 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?
  12. 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
  13. 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
  14. 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
  15. 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
  16. 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
  17. 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...
  18. 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...
  19. 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
  20. 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.
  21. ...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.
  22. 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.
  23. 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
  24. Rolling shutter effect on Sony F5. (HD/25fps / 90° shutterangle)
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