Alan Rencher

It depends. If you shoot a lot of reality, then it might be worth it. A lot of reality shows still use that camera, and mostly because of the camera's size, zoom ratio, & quality for television. Also, tape is a more suitable workflow for them. If your clients are expecting a 5D look, then it may not be a good buy.

I run into this situation all the time, and the solution is simple: Just embed the Youtube video to your site that the artist has uploaded on their official channel. I do that with commercials, too. You can see it in action here: http://www.alanrencher.com

The Camera House also has an internship program. You might try contacting them.

For LA, check la411.com. Many of the LA rental houses have office around the globe.

It looks like they did some split toning to the image: sepia in the highs, and blue in the lows. I like to do that kind of split toning myself (example). You can do it in Lightroom or Photoshop. It looks like they desaturated, then pushed the reds/oranges & blues. a bit. The vignette is post, and they probably did it to cover the blown-out sky. You can tell by the shadows that it was overcast.

5k wouldn't be a normal color temp for a light. It would most likely be 5,600 or 6,500 Kelvin. Most lights are named for their wattage. If someone is asking for a light by its color temperature, they will ask for a tungsten or daylight fixture.

But this camera is designed to be all-inclusive and ergonomic; that's something that Red has yet to do.

If you notice in the "features" video, they show a silhouette of the B4 adapter; judging by the size, it looks similar to the Abel optical adapter. I don't see how windowing would be a viable option seeing as how their super-sampled 1080 image is the basis of the sensor.

My assumption is based on the release of the XT Alexa. An investment that big with a four year old sensor would be tough with new release on the near future. Plus, all current Alexa bodies are eligible to be upgraded to XT. I do realize that a sensor upgrade is a different animal, but like I said, it's speculation on my part.

Here's some speculation: what if Arri is releasing this camera at the end of this sensor's lifetime, and they can release this camera for a relatively low price because the R&D and manufacturing/tooling costs have all been recouped from sales of the Alexa? I heard someone say that Arri says that there would be no sensor upgrade path for the Amira, and that they don't want to step on Alexa owner's toes. If they do have a new sensor that is almost ready to come to market for Alexa, those owners can upgrade, the Alexa will still have its premium over Amira, and the Amira can be sold at a low price. How's that for a theory?

Someone correct me if I'm wrong, but if you wanted a smaller sensor look, couldn't you put a doubler on a wide lens and get the same results? Also, in the specs video it mentions that it will have a native B4 adapter to use 2/3" glass. I don't know if anyone is as excited about the new CFast cards as I am. CF Cards with a SATA 3 Connection? Why didn't anyone implement those sooner? There are already cheap easy ways to adapt them to offload stations: http://goo.gl/UYM8G7

If my memory serves me correctly, you can also remove the linear gear from a Mole Fresnel without taking it apart. One of the knobs has a set screw: remove it, and slide the shaft from the other side.

I don't know about the Desistis, but Mole light break apart with 4 screws.

Wheel bearing grease, or some other high temp grease would probably be best. White lithium has flammable chemicals in it, so it's probably not the best option.

Please move this discussion to a different thread. Everytime I come back, I try to look for the posts regarding the camera, but all I see are the focal length / format debate over several pages.

Yeah, what David said.

Quit hijacking this thread! Start a new one if you want to discuss other BS!

have you tried contacting Duclos Lenses about repairing the lens?

You can't create lighting in post. This is the kind of thinking that is ruining our craft.

What specific equipment are you looking for?

Have you looked into renting?

Instead of spending thousands of dollars on a camera just to learn on, why don't you find someone with some experience and learn from him or her. Most professionals work their way up on sets, and working is the best way to learn.

I don't think you'll ever get those seems completely free of old paint and grime. When you spray the paint into the creases, it will fill them, and it will hold.

I think you may be confused on how a light meter works. You should set your light meter to the settings that you want to remain constant (ISO, shutter, etc.), then use it to give you a reading for the variable (like your F-stop). There is no calibration to the camera. The constants should be matched on the camera and light meter. Example: you've decided that you want an ASA of 800, with a 180° shutter. Set the camera and the light meter to match, then take a reading. The light meter should then give you a reading for your F-stop (or T-stop). After that, just set the camera to match. It it's possible that your false color will read a bit differently than your light meter. This can be caused by different variables, but it's usually not that far off. Hope this helps.