Mitch Gross

Selling for a friend. Privately owned lens, maintained by Panavision. Angenieux 45-120 T2.8 lightweight zoom in PL mount. Includes motor bracketry and case. Very limited use on lens. Excellent condition. Located in LA. Serious inquiries only please. Pictures & inspection available on request. Owner ready to move on to new investment so this is a good opportunity for someone to make a smart "tax purchase" before the end of the year. Please contact me at mitchgross@aol.com.

Looks like a traditional soft overhead light with a bit of bounce fill for the eyes. I would skirt the light with some duvatyne or other fabric to drop the light on the walls some and get a bit of depth to the space. I personally would prefer a paper lantern "China ball" rig to a kino for this, but a kino should do just fine.

Actually, the first thing to do is determine if it is the groundless that is out of alignment or the viewfinder optics (mostly likely the prism). pull off the mag cover and the port cap. Shine a light into the viewfinder. Look through the lens port and slowly rotate the mirror. If the groundless is in line with the gate then the problem is with the viewfinder. If it is out of alignment it most likely just needs to be reseated. Do you have a short eyepiece and a long eyepiece? It is possible that you stuck the eyepiece on the wrong way, with the registration pin not going into its little hole. That would cause the eyepiece to shift out of alignment and create just the issues you describe -- the framing would be off and focus would shift across the field. Check to make sure everything is seated properly. If it is seated correctly, try rotating the eyepiece a full 360 degrees, meaning spin the eyepiece so that the eyecup gpoints toward the front of the lens and then keep going around in a full circle until it lands back where you started. This can help reseat the eyepiece prism (the one that's right there next to your eye, not the one that is centered above the lens). If that doesn't fix it, try pulling off the camera lens and doing a 360 rotation at the other prism point (the one over the lens port). Note that many Aatons cannot do a 360 rotation at this location due to a patent issue with ARRI. If these steps do not fix the issue, you really best take it in for service. Last things you want to have happen are (A) all your footage out of focus or misframed or (B) some part coming loose while rolling and dropping onto the spinning mirror (yikes!).

Getting back on topic, I rather enjoyed the series. It started off a little stiff for me, but by around episode three or so I was drawn in. I knew it had the group of kids and I was afraid that was going to wear on me, but the teenage story and the adults' story gave it a much needed sense of balance. It was three movie tropes in one: childhood fantasy, teen horror and adult conspiracy thriller. Interesting balance weaving the three together. I found the sheriff's story particularly compelling. I was fine with the use of the RED camera, although there were a couple of moments with the flashlights where a highlight like a flashlight said electronic instead of chemical to me. And there was the use of fog filters or some other low contrast filter that would cause a distracting change in overall contrast when a flashlight was waved around on screen. But those are just some minor points in what I found to be a very well done production. The Art Department did a great job.

I saw the last several Christopher Nolan films in true 15/70 IMAX at the AMC Loews Lincoln Center theater in NYC. It's one of the premiere facilities for such screenings.

Sometimes these shots were done with a large sheet of glass in between the actors and the camera, so that the sets could be built to a certain size for the actors to walk through and then the painting extending for the rest. Amazing what they could high and everything was lined up perfectly with a nodal head. But this false background appears physically behind the talent, so I would agree that it's a massive painted backdrop. Forced perspective could allow the canvas to be closer than it appears, but not by much.

I think that's an old CP mount.

ARRI Standard

Try showing the rear of the lens and stick a ruler next to it so we have a clue.

The original LTR manual was more a pamphlet than anything. Pretty sparse. If you can find it, I suggest getting the XTR manual written by Peter Abel of AbelCine (then called Abel Cine Tech). While there's obviously much in the manual that doesn't apply to the LTR cameras, there's so much more info in general that it is more helpful than the old LTR manual. IIRC, there's even some specific LTR info in there to help differentiate the models. Hard to recall details -- it's been a few decades.

Yes, sorry. I meant to type M18. I'll correct that. Note that the HIVE 1K Wasp is both less expensive and uses considerably less power than the M18.

The Odyssey7Q+ is the best device for this (caveat: I work for the manufacturer and I helped design its anamorphic desqueeze function, so I'm a bit partial). The Odyssey7Q+ offers multiple desqueeze options. It can desqueeze at 2x, 1.5x, and 1.33x ratios. Because a 16x9 sensor will yield a very wide frame on most anamorphic lenses, much wider than most people want, we also offer a cropped monitoring mode. This is a center extraction of the desqueezed image so that a traditional aspect ratio is shown that fills the screen, chopping off the unwanted sides of the image. The center extractions are a 1.33x desqueeze with 1.78 aspect ratio, a 2x desqueeze with a 2.39 aspect ratio, and a 2x desqueeze with a 2.67 aspect ratio. Other monitoring functions such as Pixel Zoom and exposure meters work as normal when Anamorphic Desqueeze is enabled. The video outputs of the Odyssey7Q+ will show the selected desqueezed view so that other monitors on set have the desqueezed view. The Odyssey7Q+ is the ONLY device on the market that does this. Note that the original signal is not altered at all. The recording is still squeezed, which is then best addressed in post. Also note that the Odyssey7Q+ is the best recorder available for the FS7. If the FS7 has the XDCA accessory back it can output RAW, and if the Odyssey7Q+ has the Odyssey RAW Bundle enabled it greatly increases the recording capabilities available. The combination can record in 4K up to 60p or 2K up to 240p. Recordings can be made in CinemaDNG RAW files or in Apple ProRes. No other device available offers these capabilities. You also mention using S-Log. The Odyssey7Q+ has an advanced LUT system included. There are a number of preset LUTs available and you can load an additional 140 custom LUTs. Preset LUTs include S-Log2 and S-Log3 to Rec709A and Rec709(800%). There are also Exposure Compensation LUTs for S-Log2 & 3 to Rec709A for when one wants to overexpose by 1 or 2 stops. That way you can choose to overexpose the image to reduce noise and increase effective bit usage while also viewing a "corrected image" so that you and your clients can see what you're doing. You can choose to have the Odyssey monitoring tools (waveform, spot meter, etc.) read either the source signal or the LUT-applied image. You can choose which signal goes to the different video outputs (there are three outputs, one HDMI and two SDI, and the LUT application can be selected individually) and you can choose if the monitoring tools are sent to the individual outputs as well. That way you can have a set monitor that shows the same thing as the Odyssey screen (perhaps a LUTTED image with a waveform reading the underlying signal), a signal to a DIT that is the original signal with no tools on the screen, and a signal sent to the Director/client monitors that is the LUTTED image with no tools. I know that this is WAY more info than you asked and there's a lot that has nothing to do with anamorphic viewing, but I thought that you might like to know of the other advantages this presents with the camera you mentioned.

I would suggest the new Hive 1K Plasma light. The Par version is called the Wasp. It's more powerful than either of those lights by a wide margin but competitive in price. In fact it's the most powerful fixture available that can be plugged into a regular outlet. More punch than an ARRI M18. I find that when making a proper booklight you need two things: A lot of space and a lot of lumens. A booklight really eats up the foot-candles when you bounce and then diffuse.

They use much more green because that's how the human brain perceives the visible spectrum. We basically see a bit of red on one end and a bit of blue on the other with a huge mass of green in the middle. When we rose from the primordial ooze we were surrounded by a whole lotta green and that's pretty much stuck with us. This is why the basic color adjustments work the way they do: color temperature is essentially adjusting the relative strength of red v. blue, and tint control is plus/minus on the green strength (green/magenta balance).

Sensors have been "aggressively cooled" for many years. The inside of the Dalsa Origin was one big heat sink. The original Phantom HD was about 12 pounds, and almost 9 of them were spent on huge copper heat sinks and a heat radiating casing. There's pies cooling, heat pipes, directed fans, liquid cooling, on and on. Performance of the chips has gotten much better but then we just keep cranking up resolution and sensitivity, so temperature control remains one of the major barriers to performance. The Canon 8K demo system that uses 4x Odyssey7Q+ recorders to capture 8K60p is most impressive to me not because they built an 8K S35 chip with nice sensitivity and dynamic range, but because they could do so without the thing melting.