Giray Izcan

If you see more of the sky in a particular shot and want to preserve details, then add an nd and bring up the ambient levels or fill on talent, depending on the frame and angle, to compress the contrast to your camera's dynamic range.

Thank you Frank.

There is a device called tv sync box but I am not sure if you could use it with digital cameras. It was by Cinematagraphy Electronics. I suppose you could get one and take/send it to Andre for him to change the plug to whatever you want and then test. It should cost around 250-400 nowadays...

How did you do sync sound? Is the camera crystallized? Great work!!!

Phil, I bet the sound guy would be your best friend afterwards...haha

Looks very nice. Good work.

Wow... it sort of looks like a timing issue almost.

Nice... my go to stop is 2.8 for nights, interiors and 5.6-8 for day ext so I should be fine then. How are the index marks? Do they actually match tape measure?

Xeen lenses... how do they perform at 2.8?

Right... I like certain lenses that I rent but I was watching The Sound of Metal recently got me thinking about Tokina's proper cine lenses. They seem to perform really well. I woukd like to shoot on them once and print it to see how it really performs without any di tricks.

Aaton 35 is a good camera for sure. If I'm shooting a feature though, I'd much rather use bl4s or a 535 than the Aaton as the A camera. Quietness, dependability, 1000ft mags...

2 perf would still be a bit more expensive but sharper for sure. Even if you crop it to 1:85, it is still 1.5 or 1.6x larger than s16 despite what people may say in terms of how 2 formats being really close to each other. If you want to shoot narrative rather than mos music videos etc than of course you should get a 2 perf, quiet with pl mount type camera. Forget the 2c type cameras for narrative work is what i would say.

If you can get a decent 2 perf camera like an Aaton Penelope or an Arricam etc then I'd say go for it. I would much rather own sr3 than a 2 perf Konvas or an Eclair CM type cameras with no modern accessories and they all sound like coffee grinders so forget the sound...

It will cost a lot more so you will most likely shoot a lot less. Also, doing optical reduction prints from 35 onto 16 negative is very costly. I would keep the SR and rent a 35 camera when you need it so this way the cost of shooting would be a lot less prohibitive and be able to shoot a lot more stuff.

No problem... I'm glad I could help.

It looks like an ACL - at least the last picture.

I imagine it is the same tap as the NPR one. Find the NPR hd tap brochure on their website and I bet you'll see that the unit is also compatible with the ACL.

I believe AZ Spectrum offers HD tap for the ACLs as they do for fhe NPR. Supposedly, it's flickerfree too.

It's still nice to have a tap. It is a lot more efficient and ideal to use a monitor as opposed to the vf sometimes,, odd angels etc...

I will get my ggs laserbrightened soon at s16 inc. I am guessing that will improve the image quite a bit. Also, I am planning on trying a 50mm lens to punch in more and to hopefully fill the frame entirely.

Your tap looks very nice there in the picture.

I guarantee you that if you get a decent CEI IV, V OR VI flickerfree tap, the image quality will be just as good or pretty close to hd taps without gg cancelation.

The problem is the rental or the demand isn't high enough to justify the additional expense... to pull focus off of monitor, in well lit setups maybe but in low light situations the groundglass grain etc becomes almost like sd tap i think. You see the image above... its only good enough. Maybe laser brightening gg at s16 inc might help with a better tap image. Arricam hd tap with gg cancelation is a different story of course hence the price of it.. again though, as nice as it may be... why? Where is the market to justify the expense? To shoot some vanity projects most likely?

I just don't see the point of spending too much on video tap especially there isn't really that much professional demand for 35... self satisfaction maybe I don't know...

I spent 150 dollars to fit the camera on the elbow but didn't modify the optics so you can see black bars on the sides. It looks more like 1.66 than 1.78 but it works good enough. I am using a 35mm lens but I suspect a 50mm could fill the whole screen without black bars. I like blackmagic colors and dynamic range being similar enough to film with custom wb etc.