Jump to content

Kenny Suleimanagich

Basic Member
  • Posts

  • Joined

  • Last visited

Everything posted by Kenny Suleimanagich

  1. Helping a friend selling a beautiful and complete set of seven newly-rehoused original Cooke Speed Panchro lenses (Series 2 & 3). These have not been used since being rehousing at True Lens Services (TLS) earlier this year. Finding these lenses in good condition, not already rehoused, as become very difficult, and this set took over a year to put together before rehousing. This set consists of only the last generation of Panchros manufactured - all serial numbers start with a 7. The mechanics are of course brand new, and the condition of the glass is as good as you can get for used lenses of this vintage. PHOTOS HERE 18mm Series 3 25mm Series 3 32mm Series 2 40mm Series 2 50mm Series 2 75mm Series 2 100mm Series 2 A TLS evaluation report is available to any serious interested buyers. A local NYC or US sale is preferred, but I can also ship internationally insured. Scales are marked in Imperial (Feet). If you send the lenses to TLS, they can make new rings for metric fairly easily for a fee. A Pelican Air 1535 (airplane "carry-on" size) case with custom-cut foam from Innerspace Cases (to hold all 7 lenses) is included. 40mm and up covers 1.78:1 on Full Frame. Plenty of additional pictures are available. Not interested in trades - with the possible exception of Zeiss Super Speeds Mk2, Tribe7 lenses, or anamorphics. Asking $60,000 USD. Selling only as a set of 7 - set can't be broken up. Optionally available *only with the set of 7*, is a very rare 152mm Cooke Telepanchro, recently overhauled. This lens isn't rehoused, but has been converted to PL mount, and is very usable without rehousing. Markings on this lens are in both feet and meters. TLS also offers rehousing for this focal length. No case is included for the 152mm. Asking $70,000 USD for the set including the 152mm.
  2. As long as it's 24v and Arri 3-pin (AKA not panavision) XLR, it will power your 435.
  3. Shoot me an email and I can send you some. Kennysule at gmail dot com
  4. Gold Mount is definitely the way to go if you can afford Anton Bauer. V-mount is cheaper to buy and rent (Sony and Switronix) but I've always felt they're a little more vulnerable to dislodging. I wouldn't cut costs on batteries and camera media - use known good brands.
  5. Who supplies it for editing on a Steenbeck?
  6. Is there even a supply of 16 or 35mm mag stock left?
  7. I recently did a shoot with 16mm Reala 500D that had questionable storage and was probably around 6 years old. We overexposed two stops, sometimes three, and processed it normal. Scanned by Metropolis on a Lasergraphics Scanstation - we had a surprising amount of information on the negative even despite the crazy density from overexposure. The colorist on this, Andrew Francis at Sixteen19, was excited about how much we were able to play with the tones and in many cases we pushed it to the limit just to see where skin tones would land. I wondered if this was due to the fourth color layer adding some resilience. Anyway, you're shooting 35mm which will help with the grain. I was excited by the results and wish I had more of this stock to shoot.
  8. Early Alexas also shipped with yellow radio. Arri offered an update.
  9. They are currently installing the Photmec machines. One has been installed with one more to go.
  10. Panavision has 2-perf systems, specifically modified GII
  11. Candles are pretty close to Tungsten balance - so you're safer at 250. Look into House of Candles in Culver City, they make double and triple wick candles for more output
  12. Just saw the print at the new Alamo Drafthouse NYC/ Brooklyn. It's great! I loved the films clear affinity for the 60s aesthetic while asserting its own visual grammar in tandem. David, I particularly admired the use of filtration. Did you ever feel you were pushing it or overdoing it? I liked how the close ups on the witch's bottle kitchen scene were star-filtered (was that a net?) while the medium shot of her was clean(er). It all worked for me, and was sometimes a visual reminder/callback to previously filtered scenes. The lighting, perhaps not surprisingly, reminded me of "Far from Heaven" (2002) which is the only other recent hardish-light film I can think of shot to reference the Russel Metty-shot Sirk 1950s works. I remember reading that Lachman frequently used tungsten lamps as fill on exterior setups, to make the foliage pop more. It looks like you had a lot of fun with color, was there any discussion as to what the various colors would mean to the character and plot throughout the film?
  13. There was a similar thread about this. You might find it helpful. http://www.cinematography.com/index.php?showtopic=65002
  14. Seeing it this weekend at the new Brooklyn Alamo Drafthouse! They're running the 35mm print through the weekend only, then going to DCP.
  15. I loved the gentle falloff of soft, big-seeming sources. I also felt the camera operating was superb.
  16. Colorlab and Video Film Solutions are sister companies running the same machines.
  17. More info on the MKBK SR2?? That's awesome. Reminiscent of what P+S Technik was doing with the Evolution upgrades.
  18. I've shot anamorphic on a PL-mount IIC through Clairmont, using their house anamorphics and desqueezed with a door that has the switch on it allowing you to go from Closed-Scope-Spherical. If you live near a rental house that carries these cameras and lenses, you can buy cheap short ends from Reel Good Film and ask to shoot some test footage in the checkout bay or parking lot. Anamorphic lenses rent at a large premium, generally from most places around $350/day per lens but you can often find deals and get breaks. 2-perf spherical is by far the cheapest option.
  19. "Crop factor" is a confusing term that references field of view. A 50mm on a 35mm still camera has a wider field of view by 2.88x than the 50mm on the blackmagic pocket (super 16). The reason why there are wider focal lengths for small image areas is precisely because of his.
  20. I agree with that sentiment - unless production is demanding a wireless setup or you have a steadicam op with an HD sled, don't bother. I think there are even recorders that will do Component onto an SD card.
  • Create New...