peter roehsler

"The new pocket camera however seems to have magically got everything exactly right. I suspect this is more by accident than design, but all the same. I'm REALLY excited by this camera, as I'm sure a lot of people are. It is really, really spot on! :) Freya" Absolutely! I will rid myself of my NEX 5ns and use this little cam for unobtrusive doc work. I just hope that Zacuto will bring out a nice little Z-finder in time for July. To be able to use S16 cine lenses in Arri B mount (and some 16mm Arri A mount lenses plus everything made for S35 & FF) besides a tiny MFT pancake lens will make this the most versatile small cinema tool - a true pocket camera. peter

To bring in professional equipment under the eyes of customs officials is certainly some kind of sport. While there is not guarantee for success, I recommend to play everything by the book: find out if there are customs regulations for such gear, if you need shooting permits, if you need work permits and such. I am sure an Indian embassy in your home country could help to answer all these questions.

"Actually the DVX100 and HVX200 were much cheaper than the Red One. Theres probably less in the way of cheaper digital cinema cameras now than there was back then." If you want to count DVX and HVX as digital cinema cameras, you may certainly have a point. OTOH these were costing about twice what a decent prosumer video camera with a non-avchd codec costs these days. "The sensor is first in line tho. It's somewhat like the filmstock in a camera. For instance, if you shoot with a monochrome sensor it's going to be a difficult affair putting the colour back in further down the chain." Ok - I do not want to sound like `beggars can't be choosers', but for low-budget indie productions the option of renting from Panavision, Arri etc never existed, whereas there are plenty of RED owner/operators out there, who will meet budget restrictions if they like your projects (I happen to be one of them ;-) - just like back in the days when we used AGFA stock, beause that's what we could afford. But that is only one side of RED. If mega-budget productions, where choice of cameras is not driven by cost, opt for RED, it certainly should be good enough for me. I do not worry which sensor has which look, as I would not be able to rent anything else anyway. I always hear people saying good things about Alexa colours, but it could very well be that these people spend somebody else's money when they rent. For me owning a RED camera means the freedom to start shooting anything, anytime - it's like owning you own studio.

I have been a RED user for 5 years, I never had a problem with the camera which could not be solved within minutes. Maybe I am just lucky. People liked to bash RED because of it's workflow. They neither understood the advantage of shooting (albeit visually lossless compressed) RAW nor the advantage of shooting 4K. 5 years later everbody is `inventing' 4K as the next best thing + codecs galore. Had it not been for RED, digital cinema cameras would still cost in excess of 150k and HD would suffice for TV work, thus keeping 35mm alive as the `quality' medium for the big screen. ARRI has been very successful in trying to catch up - whether their new 4K or 6K cam will be a match for RED remains to be seen ... ps: `color' does not come from the sensor only, there are DPs, gaffers, lenses, filters, lights (and gels) and colorists along the way to a finished product.

relatively new site: http://shotonwhat.com/

You may want to combine your visa application with an application for a film permit. Once this goes through, your visa should not be a problem. Give it lots of time, as everything has to be checked in New Delhi, the embassy/consulate will just forward such requests. It won´t be wrong to get the cultural attachée interested in your project though.

you could get some from germany, they also offer processing etc: http://www.kahlfilm.de/content.php?nav=15

Hi, just write to Ernst, who is the guy who made it: office at hetron dot at.

Hi, I have an 18III/25II(sorry)/50II/75II in Arri A mount which I could swap. I also have a 40 which is in for cleaning & adjusting. I could throw in a Les Bosher adapter for PL. please reply to mail at nanookfilm dot com best wishes peter

No, I am afraid, but quite a few other lenses and they worked fine. Why don´t you contact the ebay seller with a specific question?

you may want to look at this: http://www.ebay.at/itm/Angenieux-Cooke-ARRI-PL-to-Canon-EOS-C300-5D-1D-7D-60D-T3i-60D-lens-adapter-/250998475129?pt=US_Lens_Adapters_Mounts_Tubes&hash=item3a70acc979#ht_5636wt_1210 it worked for me.

Many websites call the Panasonic Lumix GH2 the best video DSLR around. If you can live with the smaller sensor (focal lengths don´t mimic S35 as Canon´s APS-C sensors do), you will save quite a bit of money and get a more compact setup, including a DSLR-like `prism finder´ with a decent monitor, works esp. well in in bright sunlight. Or you could buy a SONY NEX 5N (APS size sensor) together with an extra electronic finder (one of the best around) and have the most compact setup. Downside: no external microphone port on the camera, so sound will have to be taken with a separate device

I have a motor for ACL I and a very worn body (for parts- different lot). peter

[http://www.astrodesign.co.jp/english/product/ah-4413_ap-4414_am-4412