Mitch Gross

Same issues, which generally mean that the lens can attach but the viewfinder cannot be positioned as freely.

Masters & Ultras on an ARRI-3, absolutely yes. Same lenses on an SR-2, yes, but only if the lens mount has been converted to an ARRI PL (they originally came as ARRI-bayonette). I think the ARRI-3 was always PL, but it can't hurt to check.

Some HDMI converter boxes cannot handle the change in signal when putting the camera into Record. That is why we use the Blackmagic Design units. Read all about this very issue on our blog here: http://blog.abelcine.com/2010/10/14/blackmagic-hdmi-to-sdi-box-firmware-upgrade/

What's the inner diameter of the throat (the inner part of the black section)?

Definitely not a PV mount. I'm gonna check a few possibilities.

Nothing quite so entertaining. The sensor was rejected on initial QC. It is VERY hard to make something of this size.

Main camera on Spartacus was Panavision Genesis. Phantom HD Gold for B-camera (high speed imagery). Lots of great blood & gore in super slow motion, along with over the top action and naked slave girls, etc. For those who found "300" far too subtle.

Careful viewing reveals that several cars loop around and reappear numerous times. Hollywood trickery, even in 1906.

For $3000 I might be willing to part with a busted sensor. Makes a great desktop conversation piece. Look at the size of that puppy! Excuse the crappy iPhone image.

Good God, how did I forget that Blade Runner was that same summer? I had been reading American Cinematographer for years and Cinefex magazine for some as well, but when I saw Blade Runner I came thisclose to going into visual effects. I think I even penned a fan letter to some of the ILM names I found in Cinefex. Of course by the time I graduated college it started to migrate over to CGI and then visual effects became stunningly less interesting to me.

I'd like to think our blog is pretty informative. blog.abelcine.com

If only there was a Digital Cinema camera with a sensor large enough to do justice to the IMAX lenses ... http://www.abelcine.com/store/Phantom-65-Camera/ Nolan and Pfister used a Phantom HD Gold for some of the high speed shots in Inception.

Amazing, thanks for sharing. I recall seeing Star Wars quite vividly; it made quite an impression on this 10-year old boy. But it was E.T. that first made me emotional in a movie theater. That is to say, emotional about the movie experience. There were plenty of other films that played my heartstrings, got me excited, etc., but it was E.T. that first hit me with the power and understanding of the emotional strength the cinema medium could wield. Later that same summer, Poltergeist scared the crap out o me and I began to appreciate the craft not just for pretty pictures and interesting stories but for the emotional manipulation.

It's because you would need to position the camera differently dependent on the size of the frame used, which would then effect the appearance of depth. Perhaps this video I did might help: http://blog.abelcine.com/2010/05/14/a-lens-is-a-lens-is-a-lens/

1/50th. I've had a Minolta F for a couple decades and love it still.

There are versions of this scam happening all the time.

There are also now follow focuses from ARRI and (soon) OConnor that use a rubber wheel to turn the focus ring via friction. These might work as well.

Time Warp used cameras from Vision Research (Phantom, Photron and others. For the past couple of years the American edition of Mythbusters has used a Phantom v12.1.

The parents' apartment in Hannah and Her Sister's was in fact Mia Farrow's own home. Different DPs over the span of Woody Allen's career have used different methods for shooting and lighting his exterior walking scenes. Gordon Willis would usually use a Western Dolly (large flat platform on golf cart tires) and a tripod head on a mount that shifted with the uneven ground. Lighting was usually a large light mounted on the dolly for fill (dimmed up and down appropriately) and a second hard light on a rolling stand with a flag floated in front and away as Willis saw fit. If you study the night exteriors of "Manhattan" you'll se that there are huge swaths of darkness, which was pretty ballsy. For daytime, Allen only likes to shoot in overcast light, and often in late afternoon when the contrast is even lower. He often schedules his shoots for the fall to get fall foliage in the scenery.

The above notes are correct. The 18mm Compact Prime is the only one of the set that does not cover the 5D sensor. Zeiss is very clear about this.

I quote from the original poster from the start of this threaqd: "I spoke to a very experienced lens expert here. He told me that Ultra primes and Superspeeds are exactly same optically. They produce the same quality of image. Only difference is the housing." This is not true, which is what I was explaining. I agree that SuperSpeeds are a viable lens choice. We rent them out all the time and I cut my teeth shooting with them on many projects. But when the question was whether to spend $44,500 on a set of 20+ year old SuperSpeeds or $60,000 on a set of brand new Ultra Primes, I think I gave a fair response. You and I know what it means to deal with old lenses, with a lack of available parts and the wear inherent in their design. If the SuperSpeeds were $25K then the extreme difference in price might be worth considering the old set, but $44.5K v. $60K is too close relative to actual physical value, at least in my book.

Your experienced lens expert is wrong. While there are some elements shared between some of the Super Speed and some of the Ultra Primes, in general they are not the same. Otherwise they would have all the same focal lengths. The Ultras are generally sharper with better contrast, chromatic abberation and flare resistance. The housings are a much better design and will hold up over time far better. Before the RED One became available, Super Speed sets were selling for under $20,000. Only demand has raised the price, not quality.

It rents for $200/day. It will work on any XTR or LTR camera (except for perhaps the first 20 built). The unit attaches with just four screws so it should be no problem to send out. That's what I used to do when I was a client of Abel.

Yeah... Too bad that behind the scenes clip showed that they did it in camera with the Phantom HD Gold. I'm sure that they could have added to the effect in opost, but it was definitely shot this way on set. Sorry to let the facts get in the way.