Giray Izcan

Yea, I agree w Adrian that cine lenses have great advantages over stills in terms of focus pulling etc. What I meant with my previous post was solely on two lenses' differences on a Canon in terms of resolution, sharpness etc. One of the biggest advantage of cine lenses is that those have detailed focus marks and long barrel rotation. If you have to work w stills lenses I.e. Canon or Rokinon etc, just put a white tape on the lens and tape measure various distances. And then, write down those distances on the white tape with a fine-tipped pen.

Those cameras don't have true hd resolution , so even if you put master primes on those, you will not see any improvement on image sharpness and resolution. Tokina lenses should be more than enough for shooting video on dslrs. Also, I consider t3is and 7ds as full frame, because it is pretty much the same size as super 35 film cameras. 5d is more like 8perf vistavision. 5d is full frame in stills.

I am looking for an Angeniuex vf for Eclair NPR. Plz contact me via email deepseahero@aol.com or via phone 805-286-5625. Thank you.

Road to Perdition

Alexa, Alexa is not for a newbie.. I would recommend a bolex to learn lighting exposure etc.

Matt, Cinelab would definitely be your best bet. They are really understanding of low budget filmmakers. Btw, I just spoke with Kodak, and luckily, film is most definitely not going anywhere.

Jeremy, You hire an ac whi knows how to handle the camera and a dit. With those cameras, you will have a massive amount of data that you will have to handle, which is costly. After that, you might want to take your footage to a lab to color grade.

I have a rokinon 35 for stills. It's really sharp and contrasty. I use it with my ultra 16 camera and looks just as sharp as a cine lens. I am considering to buy its cine version for oher focal lengths to complete my ultra 16 format prime lens set. However, bear in mind that these aren't really cine lenses despite the fact that those are de-clicked etc. Look at focus marks, not detailed at all. Those focus marks are same as its stills version, only written sideways. If you wanted to work with a focus puller, you would have real hard time.

Or you can gel the windows with full CTO to match with your tungsten stock. Or you can try to get hold of Kino flo bank(s) and put daylight tubes in for fill, ambient lighting etc.

Nikolas, It depends on what film stock or ASA setting is on your camera, because putting ctb on 1k would reduce its power by 70 percent. So, your light levels may not be high enough for slower film stick or camera setting. Also, it depends on location size as well. If the location small where you will have your lights close to your subject, it may be sufficient. Worst case, you can set up your lights and take an inciden reading to see where your levels are. Adrian made a good point when he mentioned using mixed temps within a scene. For example, if you shoot on tungsten stock or setting, your tungsten lights would appear normal and daylight would be biased towards blue. It could create that warm inviting interiors as opposed to colder exterior. Or, you can put 85c filter on your camera with tungsten stock or setting to bring the temp level in between daylight and tungsten. This way, tungsten light would be even warmer and daylight would be biased towards blue in a lesser extent.

Rudy, I am not sure if there are m42 mount Rokinon lenses, but I would strongly recommend those. Rokinons are inexpensive, and tests indicate that those are pretty close to Zeiss glass in terms of sharpness. However, build quality is not nearly as good as Zeiss. So, it wouldn't last as long as Zeiss would.

Red is coming out with their new "Dragon" sensor that will have 18-20 stop Dr? That is cool, so should I start preparing my ice chest for the next project to cool down the camera? Haha.. Joking aside though, imho, advance in digital cinematography has changed many dps' approach to the craft. In particular, upcoming dps worry a bit too much about camera's low light capabilities that makes me wonder if they intend to shoot without using any lights.. To me, cinematography is painting with lights and shadow, so I prefer lighting a scene. Obviously, well established dps still light scenes as if they are shooting on film. I meant the younger upcoming dslr dps, etc.. Then again, I am not the one to judge anyone, just stating my personal opinion.

THIS GUY IS AWESOME!!!

Matthew, Yea, I will for sure. I like u16, really like there is virtually no visible difference between s an u16. I know that super 16 got 10% larger real estate, but I guess I don't have those sharp eyes to tell the difference haha. I work with Cinelab, they are really reasonable.As for lenses, I use Samyang SLR lenses, and they are really sharp.

Matthew, With Alexa, yea rental costs aren't cheap, but you can't dismiss film stock price. So, one versus another shouldn't be based on price but artistic choice. Mr. Deakins shoots on Alexa, and seems pretty happy with it. By the way, I'm a film guy, and prefer film originated images over digital. Matter of fact, I'm currently working on a short script for 30mins that ill shoot on u16 NPR. Of course, I will have to put the project on indiegogo haha.

This is kind of off topic, but I have to mention it. From my experience, if you use fine glass whether SLR or proper s16 lens on ultra 16 cameras, images would be pretty identical to s16. Obviously, an older and softer lens would make s or u16 look subpar, unless, ofcourse the project calls for not so sharp look.

Matthew, I think a well maintained Cp or NPR is almost stable as more expensive systems, but it would be hard to tell a serious customer that. As for dslr comparison, well, I don't even consider them as valid cine cameras. They have a place I think, like placing those in unreachable spots for a maybe 10 second insert or maybe as a crash cam. As an A cam however, I wouldn't.. With my ultra 16 NPR, I use Rokinon lenses (with ef mount adapter), which actually yields just as sharp images as some pl glass due to the fact that I only use the center of those lenses. I'll convert it to super and change the eclair mount to pl. Then it may be a bit more marketable for small projects, but it still doesn't have that SR or 416 tag on it so..

Matthew, First of all, the movie Blair Witch Project made all that money because it was based on "true events" supposedly, not for its pic quality. I'm not bashing on Cps or Eclairs, they are fine cameras. I have an NPR that was fully serviced by Bernie a few months ago. It runs great, but it doesn't have an SR 3' s reputation. So I can't claim that it is a professional marketable camera for bigger projects. Newer cameras are way quiter, reliable, with precise registration, which affects image sharpness. Also, with cameras like those, you can program the camera if you want to ramp up the speed in the middle of shoot if you like for effect. When clients see an up to par newer camera, they feel safer laying down sth like 50000+ dollars for a commercial. Older cameras may run great but it is not guaranteed that it will the next day. Everythime, an older camera acts up in an unpredictable way, production delays, and costs more money than using a newer cameras. So, in my opinion, if you shoot projects as a hobbyist, then cameras like cps and eclairs are fine. However, if you would like to get into bigger productions like features, commercials, etc., then you have to own a modern camera system. Otherwise, you wouldn't be able to compete against a guy with a newer Aaton. Or, you can simply rent reputable cameras for projects as such, and use you cp or eclair type systems for dun little projects. Btw, I watched your short film about a Marine, who turns out gay; it was pretty cool.

Yea I know, Konvas is MOS. I did the comparison on the basis of irrelevancy of both systems to today's industry.

Matthew, Those ultra low budget productions would most likely not use film camera of any kind. For a 10 min short, you need something like 70-100 min worth of film stock. So, it's like 1000 dollars for film.. Those people are reluctant of paying more than a hundred dollars a day to theirdps... Yea you can get short ends etc with risk if there is any available. If it was 35 however, it would be easier to find cheaper short ends or re-can stock. Then there is s8, well, it's a cool format that has a unique look. There are some music videos and stuff shot on it for aesthetic reasons, obviously not a pro format by any means. Much like dslr crash cams don't make those stills cameras full fledge cine cameras.. If these cheap cameras were that reliable and great, then productions like "The Walking Dead' would have been shot on NPRs for a fraction of their current expenses.

It's a cool looking camera, but the lens appears like an old angenieux. That's kind of a deal breaker for professional gigs. Also, as you are aware of it I'm sure, registration with aged cameras tend to be less precise than more modern cameras such as 416s. Don't get me wrong, its a great camera for what it is. I have an NPR camera serviced by Bernie a few months ago, and really like using it. However, if I were to shoot the Subaru commercial, I wouldn't risk the project with it. Instead, I would rent a more reliable camera like a 416. Also, these cameras are not nearly quiet as the newer ones.It is kind of like taking on full fledge feature with a Konvas camera instead of an Arricam. The reason those dslr "dps" get hired is because it's a new toy that yields "great" 35 looking images. Also, those dps usually get paid next to nothing. If the guy is going to get a camera, might as well buy one that you can get real paying gigs with. More future proof system.. Once again though, a great looking camera and congrats on the deal.

You can get decent cameras for that price, but if you want to do professional work then it is a different story. You will need a SR 3 or maybe 2 or Aaton super 16 with pl mount. Those cameras will cost you anywhere from 5k to 15k. You will not get any professional paying gig with cps or any other cameras alike.

I am a film guy, so don't know much about video cameras. However, from what I have been hearing, fs 100 an 700 are really good.700 if you can get it. Also, just curious, why would you not light night ext scenes?

Also Amityville Horror was pretty remarkable.