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Evan Prosofsky

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About Evan Prosofsky

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  1. For sale is my favorite lens...no other lenses in the set available i'm just selling this single. It kills me to sell but I need the money to pay for processing for a film project I'm working on! This lens was purchased a few months ago from Norm Li where it was serviced and used very little ever since. Attached is his invoice to me where you can see I paid 19.5k USD so you are getting a steal. I would rate this lens at near mint condition, photos of clean front and rear elements attached. Focus and iris are smooth as butter. Priced to sell. 18,500 USD or best offer. Serious o
  2. Mother of George was shot on RED, not film. The genius of Brad! I know from his gaffer TJ he really loves ultra soft top light, for something like the first image I believe he was using kino's but bounced back up into a card or muslin or something equivalent to basically build a book light. I don't know if he augmented the lamp but if he did it would probably be a mus-ball or chimera pancake dimmed way down, hope that helps
  3. Hi all, For sale is my lovely set of HAWK C Series 35mm, 50mm, 75mm, and 100mm. They have recently been completely overhauled by Arri CSC and have been given a clean bill of health. Optically, mechanically, and cosmetically I think they are in great condition. I recently shot a music video for paul mccartney with these lenses and was blown away by their character. Please email me at evanprosofsky@gmail.com for more information, serious offers only. Lenses located in NYC at Arri CSC if you want to inspect in person.
  4. My apologies as I'm sure this has been covered elsewhere, but could anybody please let me know if there are any specifics for flying with prime lenses? Specifically Hawk C Series. I will be travelling a lot with these and want to make sure they are maintained during travel. Thankyou!!
  5. This is the kindof thinking in film that frustrates me, you sound like producers ;) "Its not worth the expense", and... "no one will notice, what we have is already good enough". I hear this everyday when I fight to shoot things on film :(, not 15 perf mind you, 4 perf 35. A spherical crop from 15 perf to produce a 235 image is a massive crop. Thats why anamorphic exists.... same reason why they use it on 35mm. Yeah, cropped IMAX probably still looks incredible, but wouldnt anamorphic IMAX look that much better?!?! So don't understand your reasoning there. Personally the film nerd
  6. I totally see what you're saying, but personally I would want the increased resolution for downscaling regardless of the size of the screen. I mean, the difference in screen size really isn't thaaaaat crazy. Recently seeing hunger games at the egyptian I didn't feel the jump from 35 anamorphic to IMAX image size wise was particularly massive, maybe thats just me... but the 35 anamorphic looked absolutely huge already, I just felt it was lacking in detail that the IMAX had. Avoiding all the obvious difficulties like shallow focus, loud cameras, and expense, wouldn't somebody down the line h
  7. I've had great results from Fotokem and found Andrew Oran to be very helpful even on our music video budget. We shot 5222.
  8. I've always wondered why there hasn't been a desire for 15 perf IMAX anamorphic footage. Surely, the tall IMAX frame is beautiful, but limiting in many ways, especially for those of us who don't like the aspect ratio jump when intercutting with other formats. I understand DOF would be insanely shallow and the lenses would be slow, but other than that, is there any reason this hasn't been considered??? I feel like IMAX anamorphic could be absolutely gorgeous and bring back a lot of interest to the format....
  9. Hi there, Shooting a film and need a set of Kowa's or Lomo's. Please email me at evanprosofsky@gmail.com if you have a set for sale. Thanks!
  10. Thanks so much David! Just want to clear up that 65mm cams definitely don't have that problem. (Atleast this one in particular, the Panavision 65 HR). Whatever abberations you may be seeing are from the camera coming up to speed combined with a flashed mag.... ugh. Unfortunately we were SO budgetarily strapped that we just couldn't wait each take for the camera to ramp up to speed. Takes about 5 seconds to come up to 24fps. So I'd call action just before camera ramped up. Didn't realize it would be so noticeable. The mag that was flashed ended up being the one that contained most of the fo
  11. Hi everybody! Recently I had the great privelege of shooting a short film for Arcade Fire which we photographed on a mix of 65mm (intro scene, sleeping closeups, landscapes) and 35mm (5222,5219). To further enhance certain surreal moments, I shot with zeiss super speeds wide open to get halations around bright lights in the quarry. This was also a big reason I pushed to shoot on the 5222 -- because of the lack of the anti halation backing, I was able to get some really interesting effects in the highlights and flares. I felt that the 65mm would help isolate each character from "reality" a
  12. Hey everybody, Awhile back I was asking all about savides' use of pull processing and had some really helpful responses. Here's the end result of a fun visual test I got to apply to a music video. Ended up overexposing between 2-4 stops depending on the situation, and the pull processing another 2. Shot with 5219, 2k scan, super speeds. Thanks for the help as always! https://vimeo.com/68156200
  13. Hey guys, Awhile back I was asking questions about 5222 and the use of color filters. Here's the end result. 5222 2k/scan by the lovely colorist arnold ramm. shot with super speeds 18mm and 32mm mostly, around a 5.6 during day and a 1.3 for interiors. Some outdoor scenes used a red filter. Thats about it! Found the film to be absolutely lovely in the way the highlights blew out because of the absence of the anti halation backing. Got some cool flares from what I presume to be bounce back from the gate of the arri 435 as well (our gate was not painted matte black but is silver).
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