Giray Izcan

I would rate it at 25 ASA to mitigate for its age, and hope for the best. I'm guessing it isn't for a serious project.

I would get a BL 4s with pitch control which is the same movement as the 535 cameras hence it's at the same quietness level as a 535. I would just start shooting projects on that camera instead of collecting film equipment. Having an MOS camera for certain applications is nice but, realistically, do you shoot high frame rates etc all the time which means that much more film stock as well? For most other conventional shooting style, a Moviecam Compact or a bl or a 535 style sync sound camera is all you need really. MOS cameras are too limiting in that sense if you want to own one. You get cornered with a loud camera. Surely, you can do adr etc but if you want a decent looping then it is a lot of money too and not to mention how much more complex it gets really.

To give you an idea about the filmstock cost... 800 for 1000ft load which is 11 mins of runtime or recans are 62 cents per foot. And you still have the processing and transfer. All that expense, I wouldn't want to shoot on an unreliable camera myself.

Pointless movie in my opinion... if I scratched off Tarantino's name and wrote a random name for the same movie, I doubt it would gain this much enthusiasm. There is definitely the it's a Tarantino film therefore I have to like it mentality. Talk to any young film school student, you'll get the Tarantino is the God's gift to us humans consensus. I don't care much for a director who copies everything from style to stories mixed in with a few tricks in each movie. I admire his passion and knowledge of film history but find his films very self-indulgent and pretentious. I am aware that I am speaking against the "Master" and I will get some reactions but oh well... Jackie Brown was my favorite Tarantino movie because it didn't have the usual Tarantino tricks like all other films of his. Let the public shunning begin... haha.

Well it would have to be CLA'd before using it of course.

https://www.ebay.com/itm/324594085495?hash=item4b9350ae77:g:1FoAAOSwL3hgiIWN

If you shoot without an 85 outside, shadows will be a bit colder.

Here is an example for 7219, r16 with Angenieux 12-120 at 2.8. It was scanned on Scanity at 4k. Both were scans from 1 light 16mm print so no DI finish. Password is suffragette Hope it helps.

Here is an example for 7219, r16 with a Zeiss 10-100 lens. It was scanned on Scanity at 4k. Hope it helps.

I'm glad. Good luck..

Hello, hope everyone is fine and healthy. I am searching for a crystal motor for an NPR camera. Please let me know if you have a spare. Thank you.

I would imagine Pro8 slitting the film into s8 and regular 8 formats if there is enough demand.

There was a movie called "Arbitrage" that came out in 2012. If you find October 2012 American Cinematographer magazine, you can read about how they lit Richard Gere the dark man in a contrasty way and him as a respectable family man etc in a different way. The article clearly talks about their choices in accordance with the character arc. Hope it helps.

How cool!! Let's shoot them haha.

For a camera like an SR, I would just get a video tap installed. It costs a bit but it's well worth it if you can afford it.

You need bigger flags to control the spill as book light is a very soft source of light.

Old Nikkors are fine lenses except for their mechanics. Firstly, focus throw is extremely short and the focus rotation is reversed as well, which is ok but it's still a factor for a lot of people. I suppose if you're shooting by yourself, then sure but, for a proper with a focus puller, they are not the easiest to work with. Surely, you can map it out with a remote follow focus and have a longer throw but still ... You could get them properly rehoused but it's neither cheap nor timely.

Excellent work, great photography and a powerful story... well done..

Hahaha!!!

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.