Giray Izcan

They do. The Rum Diary was shot on UPs for instance. I just completed a feature on s16, where I used Optar 9.5mm and Cooke 20-100 lenses. It is hard to get wide enough 35 lenses on s16, hence I used a s16 wide angle lens and a 35 zoom.

Darius Khondji, Conrad Hall... And of course myself as well :D

Hi, I just shot a feature on s16 as well. I'm based in Los Angeles. I have my own lenses as well, Optar and Cooke. Let me know if interested.

Alexa XX? Oh yea, the new, native 3d camera haha - exclusive to the porn industry haha.

Maybe an Alexa M :D

Visual Products has them.

Also, they may come in PL mount, but how accurate are their witness marks?

I know the negative cutters wear white gloves, but not film loaders. The first few feet of film is for threading etc anyways, so there is no picture on that part of the negative anyways. I personally like to roll out the last foot or so of the film instead trying to shoot and actual take to avoid having any scratched up takes during canning the film. Also, I've always done the nose grease trick, and has worked well for me.

Hello everyone. I just put this together from some of the materials I have from this short we shot that will be turned into a feature. There actual edit by the director will have special effects and everything else. My cut is sort of out of order. For the feature, we may end up going with academy 1:85 and photochemical workflow. Let me know what you think. https://vimeo.com/137561297

Thank you Gregg. We're shooting on s16 and some 35. It will be interesting.

Thanks Bill. I appreciate it.

My pleasure Gregg. Well I'm off preparing for a pretty small budget feature we are shooting starting tomorrow. I just picked up the film from Kodak. Let's see how it goes...

Why would you want to use a Rokinon glass or any stills glass on a BL4? They may be nice, but how are you planning on pulling focus accurately on any of those lenses?

Greg, It's great that you're working on the new Star Trek. Are you guys shooting anamorphic 35 and 65 again like Into the Darkness?

I watched it on my Blu-ray copy. I would assume they would have it on a DVD copy also.

The director mentions it in the behind the scenes of the movie that they shot those at 4fps.

They ran the cameras at 4fps I am pretty certain.

Yea, to me the movie looks like they underexposed it and printed it up.

I just watched the movie again after a long time... Man, what a piece of art and a powerful story. I miss seeing movies that powerful I guess...

Absolutely. I live in Hollywood, and seems like so do you haha. PM me.

It looks really good David. I don't know why but it has that older movie look, which is pretty cool in my opinion.

Here is a short I just shot for a friend. There is no sound because the director is actually cutting this piece, which will have the soundtrack and the dialogue as well. We shot it in his garage, where he built a set with black walls and floors. He wanted to have a void feeling - kind of like floating heads pretty much. This one is more like me just cutting it for fun. I look forward to hearing from you. https://vimeo.com/131984032

Cool, Keslow does huh. It would be interesting to shoot with those for sure. I'll give Keslow a call I suppose. By the way, Perry, thanks for the advice on compression settings etc. I honestly did not even know you could upload anything other than h.264 to Vimeo. One other conclusion I reached during this test was that Optar and my Cooke 5:1 have a similar look, which is good in terms of intercutting the two together.

It does have a registration pin and a lateral pressure plate in the gate for lateral steadiness as well - sort of like the Aaton cameras.

I did, with 1.3x Hawks but due to their availability and cost, we will be shooting s16 and crop 2:35. I own the camera and the lenses - so no rental involved. Ironically, I enjoy shooting on the NPR. It is a highly modified camera with a hard front PL mount and a new Barney. The Groundglass is etched for 1:66, 1:85 and 2:35 by Visual Products along with full servicing of it. As you can see, the camera is rock steady - I guess you be the judge. Then again, those shots weren't locked off shots so it's harder to judge the camera's steadiness.