Reuel Gomez

Understandable, but I'm not actually shooting a film so I can't actually describe a situation.

Why would Panavision advertise the Millennium viewfinder as being brighter than the Platinum if it really isn't? False advertising much?

But aren't there other variables to consider as well? Like viewfinder brightness or ease of use?

I'm not talking about budget here. But theoretically, what is the best Panavision camera available? I know the ones used the most are the XL2 and Platinum models, but are the other two, Millennium and GII, better options? And in what case would it be better to use an Arriflex or Moviecam with a PV mount?

Apparently it's being called DigiPan 70

Considering how many films get the conversion treatment, should more films strive to shoot in 3D? Especially if shooting digitally with spherical lenses already?

Star Trek Into Darkness, Man of Steel, and The Wolverine were all shot on Panavision C-Series anamorphics.

I ask this more as a subjective question based on both experience and what you've seen lately on screen (for example: Gangster Squad, The Call, Iron Man 3, World War Z, and White House Down just to name a few)

How is that possible? The C500 came out last fall? Did the reshoots last that long?

The XR is a Codex recorder, it's just specifically meant for use on the Alexa only.

I could see them selling off some of the older spherical lenses, like the Super/Ultra Speed's and the Standard Prime's as well as some of their re-housed zooms. They could probably also get rid of their older digital cameras like the F900, Genesis, F23/F35, Red One, etc. I can't see them selling of the Primo's and their anamorphic lens inventory though.

:O I cannot believe you just said that.

But most of the movie going audience could care less. I think the artist should have the right to choose between a canvas/palette and a digital painting software.

Anyone here see Man of Steel? I thought it was not only a great film but it's also my favorite superhero film. And I also feel that the cinematography by Amir Mokri as well as the camerawork was superb. I'm glad Zack Snyder didn't shoot digitally or in 3D as is the case lately with big-budget visual effects flicks and instead settled for anamorphic 35mm

I'm not actually shooting a film right now. I'm just asking for people with experience on these two cameras to speak about it so I can have some more insight. Have you shot ArriRaw?

Well, you could always shoot digitally couldn't you? Don't the Alexa and Epic cameras have anamorphic modes? Then again, if it's a visual effects show, you could use it as an excuse and say that you can't use 3-Perf.

And I just so happen to live in New England. I don't plan on producing films anytime soon (I'm still in high school) but it's nice to know that there's a D.I. facility nearby. I appreciate the info.

I honestly don't understand why so many productions this year are shooting digitally instead of film. Other than aesthetic reasons, a lot of productions are shooing digitally because of the added benefit of speed, especially when it comes to visual effects. But why switch over to a completely different format just for speed alone? I remember reading an article on Arri's website, which I think may have been on some other websites as well, where John Toll, ASC stated that his reasoning behind shooting on the Alexa for Iron Man 3 was because it was a big visual effects picture. Yet so many other visual effects pictures (for example: the new Star Trek film, Fast & Furious 6, and Man of Steel) were shot on film. Apparently Marvel Studios plans on forcing all of their future films to shoot digitally, which I think is a big mistake.

I'd like to know if anyone has had experience with any Post-Production facilities here in the US that do 2K+ D.I.'s

Would you consider shooting anamorphic again?

I know this is kind of a redundant topic, but I'd like to hear what the people here have to say in regards to not image quality, but their experience in terms of both physically handling the camera and workflow.

Have you used the G-Series and/or front anamorphic zooms?

I'm interested to know if anyone has any experience with Panavision's anamorphic lenses and if anyone has any recommendations.

From what I understand, the film was mostly if not entirely shot on Alexa, but an Arriflex 435 was used for special circumstances. Also, the Alexa didn't support 120 fps ArriRaw until last month when they introduced the XR recorder.

I really appreciate the advice Mr. Mullen, especially when it comes from someone with the title, A.S.C. That's not saying I wouldn't appreciate the advice if it had come from anyone else, it's just that it makes it that more special.