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Giray Izcan

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Everything posted by Giray Izcan

  1. I just watched the movie on film print at arclight in Hollywood. The cinematography was great but the movie was just awful. I didn't care about any of the actors as the character development doesn't exist. Another one of those, shot on x gimmick movies. "Shot on IMAX" - well maybe, but where is the story?.... I've seen deeper and more meaningful short films in comparison to this movie. The movie has no substance other than "shot on IMAX" and other technical achievements.
  2. When you crop 3 and 4 perf, you crop vertically. Field of view has more to do with horizontal angle of viewing.
  3. Nothing wrong with it. I like s8 as s8. I wouldn't try to replicate 16 with s8. I would shoot it for its own aesthetics.
  4. The new camera doesn't look any different than a 50 dollar s8 camera in my opinion. Then again, what could you expect from super8? It's a consumer product and love its quality for what it is.
  5. http://m.ebay.com/itm/182641055333
  6. I agree with Adam. I love the film negative's respond to underexposure. Jacob's Ladser is one of my favorite movies. It's such a trippy movie.
  7. Then, I would just rent a 416 with hawk 1.3x lenses. They are pretty amazing. Check out Machine Gun Preacher. It was shot with those lenses on s16.
  8. You could just crop instead of shooting with anamorphic lenses. Unless you get the Hawk 1.3x lenses on s16, working with 2x anamorphic lenses on 16 is problematic in my opinion, and is not worth the hassle. I wouldn't shoot s8 of any kind if the intention is to get that 16/s16 look. I would only shoot s8 for its aesthetics. I love the s8 look but don't think it is not nearly sharp for professional work other than weddings etc maybe.
  9. Rental houses wouldn't pick up any sort of super 8 or any other consumer format cameras. Pro 8 probably will as they are focused on the format.
  10. I wouldn't sell my Arricam if I were you. Just my 2 cents... unless you need the money then that's a different story. If anything, you could just get a 2 percent movement. At least, you have 2 perf for more budget conscious shoots and 4 perf if you would like to shoot anamorphic etc.
  11. You sdon't my need as much lighting with V3 '19 stock - especially on 35. Even on a s16 feature I shot on 19 last year, we shot a lot of available dark street light scenes in Hollywood and it was fantastic.
  12. Arri for sure. We were shooting a promo for the Voice on 2 Red Epic Dragons at a Universal soundstage - with AC. Still, one of the cameras was out of play for an hour because of overheating issues. Also, it is just easier to work with Arris from a dp and an Ac perspective. It is more of a camera without needing as many third party accessories as you would with REDs. Easier and more accessible menu, better color rendition in my opinion and doesn't really have all the bugs, issues and delicacy of REDs.
  13. You are right. It is not the opening scene. I should have paid attention to the title of the thread better.
  14. Yea of course. Sorry I didn't read the earlier pages.
  15. I'm selling one of my 1000' magazines for Arri BL 1-4 magazine that's in a perfect working condition for 150 dollars.
  16. Compact primes are rehoused stills glass with inconsistent aperture throughout the series. Superspeeds are true come lenses and aren't softer than compact primes. Sure, wide open, they aren't the sharpest but 2-2.8 they are tack sharp. I would go with the superspeeds.
  17. When you offset the lens mount for academy, since your gate is s35, it would still expose the entire film width. I wouldn't worry about it, it is normal.
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