Kemalettin Sert
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Posts posted by Kemalettin Sert
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On 1/20/2024 at 3:01 PM, silvan schnelli said:
@Albion Hockney@David Mullen ASC Thank you for the great replies. I know this has been touched on before, but I am still a bit confused about: If I intend to have windows with no details in them, would it be okay to just clip the windows during acquisition or should I still try to obtain information and do it in post. I am wondering because I don’t understand how I would be able to clip the windows in post, without affecting the exposure of the whole scene. I also understand that, to my knowledge, the value of keeping information includes, having better control of the roll off and that it can avoid the problem where different RGB values saturate at different levels, which can lead to hue shifts. So what is the best method ?
I have seen this movie in cinema and i remember the scenes you were talking about.I found that approach not very good looking and it looked like they just blown out those parts in post.
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On 2/21/2020 at 10:54 AM, Stanislav Schubert said:
We continue to restore the old movie cameras of the Second World War and shoot videos reminiscent of newsreels of the 1940s on them. We use the American Bell & Howell Eyemo cameras and the German hand crank camera Askania 1930s. We shoot 35 mm black-and-white Russian film Tasma and German AFFA aerial photograph. Soon we will repair the Arriflex 35 camera of the Third Reich and remove its historical reconstruction WWII. Watch our "military" video review
Hello Stanislav have you seen State Funeral by Sergei Loznitsa? do you know what kind of cameras they have used for covering Stalins Funeral?
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On 5/4/2022 at 12:30 AM, Raymond Zrike said:
Curious what lens that is in the first picture?
Zeiss 100mm Standard Speed
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On 10/12/2023 at 4:12 AM, Dom Jaeger said:
DoP Robbie Müller deliberately avoided mentioning the technical aspects because they didn’t interest him, as the AC article describes.
But the BTS photos show a 35BLIII and I’m pretty sure that’s a Zeiss Super Speed on the Director’s Finder. The B&W shot has an older lens, maybe a Cooke Speed Panchro.Thank you for the reply! I wish we had more info on technical stuff for a movie like this.
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I recently seen the movie again with the commentary by Wim Wenders and he said they started shooting the movie in summer of 1983.
Cine Lens Manual says Zeiss Superspeed Mark1 came out in 1983...
Its suprising a movie like Paris , Texas influenced most DPs dont even have info about lenses and camera on anywhere.Not even on Cine Lens Manual book.
I was looking at the BTS photos and looks like camera is 35BL III.
I cant make up the lens though..It might be a Superspeed mk1 iris is all the way closed and on the front but i dont see any red focus markings its all white markings.
Also they have used split diopter in more than 5-6 scenes.here s the ASC article about it
BTS
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BUMP $1600 per 1TB Card..
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One sold 2x left!
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3x 1TB Cards $4500 ( BNIB sells for $7500 plus tax )
2x Compact Reader $800 for both.($750 retail)
One of them has a chip on the enclosure but does not affect anything. Local to LA!!!
Willing to ship anywhere.
Photos:
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On 8/6/2023 at 3:26 PM, Gregory Irwin said:
I don’t know if it was the theater I was in or if anyone else experienced this but the music track was drowning out the dialogue at times. Did anyone else notice this? Anyway, there’s my review. Let the skewering begin!
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https://collider.com/oppenheimer-dialogue-christopher-nolan-comments/
Looks like it was an artistic choice.
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7 hours ago, Gregory Irwin said:
Many years ago I lived in Belmont Shore, Long Beach and it was great! A very quaint beach community. What’s happened down there that y’all say don’t live there now?
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Its the city council and their mindless decisions.They cant stop or do anything about encampments.
Only good thing about Long Beach is the weather.Other than that i havent seen lawlessness like this anywhere else in the world.
It blows my mind how most of the people living in California thinks this is ok.Its a daily occurence for me to see someone stealing stuff from CVS or Target.
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I live in Long Beach since 2020 and its worse than Syria.I came here with my wife from 3rd world country and LA literally is a hellhole.We never seen a crime before in our lives but in last 5 years my wife became 2 times only eyewitness to a manslaugter.One of them she was looking out from a window (such an evil act aint it) and she saw a homeless dude beating up our old neighbor lady to death just because she tried to help him.Last week i had to call 911 because some other homeless stabbed this homeless who stole her homeless girlfriend.
You dont see this in somewhere else thats why LA and California is a such a unique place.
Other unique sightseeings of LA is you can see a homeless emcampent right across the elemantary schools where they smoke meth and defecate (or other lewd acts )
I wish i never got in industry and had another profession so i can move somewhere else to live that so called american dream where you can own a house nice family and send your children to nice schools with no gang activity.
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There s no chance 65mm 15perf resolves 18K details.Technically impossible i would say.
50MP Venice 2 is almost 2 times sharper than 65mm Vision negative which was shot on medium format camera and used same pentax lenses on both cameras.
It would be fair comparing 4x5 film against todays digital cameras.I shoot 4x5 a lot 100 ISO mostly and they are not even sharper than my GFX 100s.
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12 minutes ago, David Mullen ASC said:
It was pretty interesting.
First question I had, but was answered by Jim Mathers as moderator in the Q&A, was what sort of lights were being used for the skin tone test because there was a lot of variation but mostly in saturation, which seemed odd. I figured the issue was probably less to do with the cameras than with the lights. It turned out, as I suspected, they used LED lighting (Creamsource Vortex RGB panels.) Oddly enough, 35mm 5219 did not perform well under those, the faces looked a bit desaturated, and conversely, the reds were oversaturated on the Sony Venice 2. The panel said that up until now, they always used tungsten for their skin tone test, but since LEDs were now the most commonly-used lights on set, they decided to test with those because if there was an issue, then that might spark a useful debate.
You would have expected 35mm film to be the gold standard when it came to skin tones but in this case, it wasn't.
In the mixed light test, film and the Alexa Mini were the only two cameras to pick up the green spike in the kitchen fluorescents, but then the Alexa 35 really picked up the green spike in the mercury vapor street lighting but oddly enough, rendered the kitchen fluorescents as neutral as did the other digital cameras.
Resolution-wise, in 4K projection, the 3K sensor of the Alexa Mini did not seem any softer than the 4.5K, 6K, and 8K sensors of the other cameras; it was surprising how competitive the Alexa still is, even with a decade-plus sensor design.
The Red V-Raptor was sort of the surprise hit of the test though it maybe was a bit less saturated than the others. It was so clean in the shadows and worked so well in the underexposure tests, but still had some clipping issues in highlights, that it seemed clear to me that it should be rated a stop faster than recommended. It's more like a 1600 or 2000 ASA camera.
The Sony Venice 2 looked great but was in some ways a bit uneven, oversaturated in the reds sometimes. But in the latitude test which had rooms of different exposures in one frame, the dimmed tungsten lampshades in the dark bedroom lost some saturation in the Venice 2 version for some odd reason, the other cameras rendered them as orange but the Venice 2 rendered it as a bit grey-ish orange.
The Alexa 35 blew everyone else out of the water when it came to dynamic range and only film was close to the same amount of highlight latitude. In both the test with the hot sparkling fireworks of the safe explosives and the hot curtain sheer, only film and the Alexa 35 held detail, with the Alexa Mini following.
In the 3200 ASA moonlight test, the Sony Venice 2 and Red V-Raptor did the best, 500T film (with a 2-stop push) did the worst. At first, the Alexa 35 was also one of the best but in the second shot, with a lot of movement, there was some weird compression artifacts from their internal noise reduction software. I don't know if the level of noise reduction can be dialed down in that mode. 2nd to last was the Blackmagic 12K camera, which had a lot of fixed pattern noise.
Thank you for the insight Mr Mullen.
Yes i was totally shocked when i saw 2 stop pushed 500T in that moonlight test.It was completely unusable.
For Alexa 35 they said it only used in ES mode and i found ES mode creates a weird noise pattern and i talked to few other colorists they prefer non ES mode on Alexa 35 and use Resolve s denoise plugin.
Im sure Arri will fix that in the future updates.
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I was at the screening yesterday and it was an eye opener for sure.
Alexa 35 is the new benchmark for dynamic range and i loved how V-Raptor looked cleaner than Venice 2 at high iso.
I would like to hear your opinions as well.
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35 minutes ago, Robin Phillips said:
is there a list of locations showing 70mm 5 perf? seems pretty easy to find the list of 15/70 locations but searching for the non imax 70mm version just brings up search results for... the imax 15/70 version
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I have seen this at Irvine yesterday which was IMAX 15/70mm film - 1.43:1
im curious if they had problems with the lenses..It was always on the ear or tip of the nose.Dont they have monitors on set?
seeing this on a gigantic screen makes you concentrate on focus more sadly.i wish i have seen this on a phone screen where i cant tell where the focus is most of the time.
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When they did last remaster Sony said they dont have the original camera negatives for the last edited scene.TVC ( company did chemtone process ) trashed them back at the time after duping the negatives.
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Sigma 18-35mm and Sigma 50-100mm T2 Cine High-Speed Zoom Lenses, come with a case. The glass is pristine no scratches or any blemishes, marks. 50-100 have a scratch on the focus scale and sticker removal marks. 18-35 have scratch on the front ring. Check the photos pls. Price $6500.
https://imgur.com/a/6VkwW7a
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Stupid miserable old grifter dont even have decency to write these on the actual thread..He can only DM you like this,
Imagine doing business with this pathetic guy..
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Im selling Rehoused Canon FD 14mm BNCR mount lens.Im not sure who did rehousing it might be Cineovision or Optex not sure. Rear cap says F&B CECO.
Comes with a case.
Price: $9000
Photos: https://imgur.com/a/0bZ0DVo
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Why didn't Vista Vision ever catch on?
in 35mm
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Thats not how lenses work though? If you put 80mm Mamiya F1.9 lens on FF camera its still a F1.9 lens.You need to use an speedboster to make lenses with larger diameter image coverage faster on a FF camera.