mark santos

shooting on arriraw is not as easy as shooting uncompressed with recorders like the stwo dfr2k and ob1. if you have the luxury of time shoot arriraw, manage the files, and then debayer it, it would be great to shoot on arriraw. we have been shooting uncompressed with our stwo dfr2k and ob1 recorder for almost two years now, with our d21 and now the alexa. the uncompressed raw dpx from the dfr2k shot on log c is really very good, plus the workflow is not that tedious. we have shot a feature last year which the director one best director, "the execution of p" shot with the d21 recorded on stwo dfr2k, when it was blowed up on film, the output was really amazing. just to sum it up, if you have time to manage files and debayer the arriraw materials, go for it. but shooting uncompressed dpx hd 1080p will do the job for you. i promise you, when you view the arriraw images and uncompressed dpx side side... by eye you wont see any difference... it's just the psychology that i am shooting arriraw that gives you the wow factor. hope this helps. mark

hello all, i am mark santos from the Philippines. we have an upcoming shoot and the client requires an old anamorphic lens set.. sadly, it 's not available here in our country. i was hoping i could find some in the region, rent it for the duration of the shoot. anyone who has anamorphic lens set in the rehion, please leave me a message. thanks!

hey francesco and charlie! our shoot was done, thank you for all the help and enlightenment that you have given me... appreciate it! we went on to shoot super 35, good to say, it's a easy shoot.. and the to set the 435 on super 35 was quite easy too. was able to check evrything, according the the tips you gave me! again, thank you! p.s. if time comes that you would need help with arri d21, arri alexa, and the weisscam HS2.. just drop me a message! i also work as DIT for this cams on the side, and quite knowledgeable about the cams! cheers!

thank you so much francesco again! since you are online now and available to help, what is the difference with ansi super 35 and din super 35. i can search online, but i want to have factual info from someone like you who have experience regarding it. again thank you! mark

thank you francesco for your prompt reply! that was very helpful. just one more thing, do need to have the ground glass changed? right now the camera has a 1.85 + TV safe ground glass in it. or can i work with the ground glass that is installed? and do i need a special mask or anything like that? thank you so much again! mark p.s. sorry for the double post, didn't know where to start the thread.

hello everyone! i have an incoming shoot next week, we are going to use a arri 435 extreme on super 35 mode. my problem is, i haven't worked on super 35 yet. so i don't know how to adjust the camera to super 35 mode. i know that the arri 435 extreme has the option to shoot on super 35. what do i need to do to the camera to be able to change the mode to super 35? what other accessories do i need too? how can i check if the camera is on super 35 mode and with all the necessary super 35 accessories? thank you so much, mark santos cmb films, manila Read more: http://www.cinematography.com/index.php?showtopic=48712#ixzz13Ar5bAFb

hello everyone! i have an incoming shoot next week, we are going to use a arri 435 extreme on super 35 mode. my problem is, i haven't worked on super 35 yet. so i don't know how to adjust the camera to super 35 mode. i know that the arri 435 extreme has the option to shoot on super 35. what do i need to do to the camera to be able to change the mode to super 35? what other accessories do i need too? how can i check if the camera is on super 35 mode and with all the necessary super 35 accessories? thank you so much, mark santos cmb films, manila