Brendan Cherry

Later this year I'm working on a couple of projects which involve heavy use of smoke and fog machines. Obviously this is no comparison but when I've shot smoke on a DSLR in the past I've had issues with 'grain' even in fully lit environments. What I'm asking... is there a difference in how the Red or the Arri read fine detail like smoke, or will I ultimately have near similar results? Specifically my options are the Epic sensor and I believe the Alexa ST without the raw upgrade.

I've got a film coming up where the two lead characters both briefly trip on acid and for a short period we see into their world during their trip. This is potentially more of a cutting question, but the lighting heavily affects it, so apologises.. Anyway we are trying to contrast their feelings and experiences but they are both working towards the same object and so part of that we thought we could have one in quite an orange environment and the other in a teal environment. Before actually talking colour we had one character in a quarry and the other in a house interior. After talking colours we thought the quarry in afternoon orange light and the interior potentially at night with tungsten balanced stock but also a bunch of daylight balanced globes. As both characters work towards the same object it'll be cutting between the two. Basically I am wondering what people think of cutting between what would be quite an orange scene and a very teal scene, and, just as importantly, if people know of some examples where this has been done in other films? Cheers in advance!

Apologises first up if this is an easy fix but I am reasonably new to the epic and today we encountered an issue where the LCD and EVF do not display any indication of whether the camera is rolling or not and so we had to rely on the LED indicators on the side....we've gone crazy looking through the menus, can anybody please direct me to where in the menu we can set up a display to indicate on the EVF and LCD when the camera is actually rolling so that we don't have to rely on the fan/LED lights?? Cheers!!

True. Thanks Satsuki. In that case, do you, or anybody else know of an anamorphic lens set which would have a similar look to the Kowas which has wider options?

From what I've read and understood, due to the wide-ness of the anamorphic on a S16 sensor it would have a similar crop to 40-50mm on a full frame? Does that sound correct?

As the title suggests, Kowa Anamorphic Primes on Super 16mm (specifically the SR3). Has anybody done it before? I'm diving into my first 16mm project and researching the crap out of the look that we might possibly have. We've watched hours of videos of Kowas on digital, and different anamorphics on S16, but wondering more specifically if anybody has shot with Kowa primes on Super 16, we're looking at mostly just using the 40mm. We are keen to do some tests but due to budget and a tonne of logistics it is quite limiting to try and do. Thanks in advance.