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Giray Izcan

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    Los Angeles
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    Arriflex 35, Moviecam, Panavision, RED, Alexa

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  1. I just checked the price and it says 1321 dollars for 1000ft 35mm.. you could be shooting Kodak 65mm for that price. Otherwise, I like the look of it.
  2. You would get IN (internegative) which would be used for making release prints. Unlike negative stocks, you would expose reversal at the box speed or underexpose it a bit.. 1/3 of a stop.
  3. It sounds like you're really right on budget.. I would shoot digital and have a better end product instead of relying on 1 take wonders just to shoot on film.
  4. Aapo, I would pay the extra and get the Lemo connection.. Have you ever seen HAfflex motors with flat bottom that resembles SRs in a way.. How about that kind of design to accommodate needed extra real estate for additional plugs, footage counter and a lemon or 4 pin XLR? If the motor connected to the body at an angle and extended back towards the magazine flat, I would be OK with it. Of course, I don't know if that's doable.
  5. Aapo, Wow.. that does look a lot more compact any other option available. I hope it ends up being 12v but if not, oh well.. do you have any orders in so far? If it's going to make it easier, I do not need the 25fps option, just crsytal 24fps.. Could you let me posted if you have 2 more so I can place the order too? Also, is it possible to have d-tap and fischer plugs on the body as well? Thank you.
  6. You will find those lenses to be pretty soft wide open unfortunately...
  7. Even if he did, I'm sure it'd be a one time deal for that film alone. I hope I'm wrong though.
  8. Last time I checked a couple of years ago, he was offering hd tap for the NPR. So he stopped offering it?
  9. That will never happen as photochemical finishing more or less doesn't exist anymore.. We're lucky to have the negative and print stocks that we have for as long as it lasts unfortunately.
  10. It's not super 8..it is MAX 8!!! Lol...£4000 well spent haha
  11. They are supposed to ship them in the first quarter of 2024 if I am not mistaken.
  12. I remember reading an article on Argo on American Cinematographer a while back and remember reading they chose 2 perf over s16 because s16 did not yield satisfactory resolution for their needs.
  13. You are comparing 50d on one format with 1.5x anamorphic and 250d on the other... let's shoot the '13 and '19 stock under same lighting and lenses and see which format will be noticeably sharper and finer grained... I love s16 but I definitely believe 2 perf is much sharper than s16 in any crop...
  14. I was assuming the end product would be 16x9 or 1.85.
  15. 2mm taller and 10mm wider is quite of a difference. Imagine the bump in quality from going n16 to s16 where it is not nowhere this much of a difference in size, it's a big difference. You photograph a lot larger and sharper images and then crop into that to get 16x9 in comparison to s16.
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