Luka Sanader

Any news on Sergey? any resolution's on OP's issue?

Thanks! i did got this on FB but never the less if you pay by PayPal and if you buy using "pay for Goods" you are covered; to the extent. lets say he wont send it or it gets lost, it is automatic but in this case problem is because i am saying its not OK and he is saying its perfect and what PayPal complaint department know about Follow Focus?! I got evaluation form Oconnors service center so this will put stop to his claims. OC is asking 1000+$ for parts + hours for repair and tax. I hope it will be OK at the end but it is just huge hustle and waist of time. Someone decides that he wants to pull quick one and then you get stuck in this pickle. but that is life. thanks thanks

Hello folks I am having little trouble and i would love your input. recently i got used Oconnor CFF1 form 1AC and IATSE600 member. I was told unit is in excellent shape , no issues at all. well i received it and its far form good. well i was told that i am incompetent and that i dont understand how Follow Focus works and therefor he wont be accepting returns. After 2 tecks, one rental, several colleagues, gave me opinion that is in sync with my impressions of this FF unit, seller is still saying same old thing: This is just fine and i wont take returns due to buyers remorse... please take a look at the video and tell me your opinion, if you have you bought this FF advertised as "excellent condition" and if you received this, would you return it? would you feel bad for asking your money back? thanks https://www.youtube.com/watch?v=Q5crXXHF8Mk

i am looking for Arri ICS-1 complete and working kit with SFHC-1. please let me know if you have one for sale l.sanader@gmail.com

we gamble sometimes, sometimes it works and sometimes you just have to pay life tax. this ting with Sergey sucks but i hope he will come around, as he always did in past. several years back there was a big mess with some Anamorphics but that resolved as well, if i remember correctly. in the past i got several things form him as far as 2009, never a problem once. i had more problems with lens shop in CA that is now "industry standard" and that i made PayPal claim in order to get them to send my stuff back to me... i know its pain in the neck, but hopefully you will get your stuff and you wont do more biz with him. life go's on

I just got mail form Sergey, apparently he had accident, brooked several ribs and was in hospital... well i have no ongoing deals woth him and he answered my email, telling me this before i asked any questions. i "know" him for a long time now and he was allways more then correct with me. just some facts

Main advantage is a size and ability to mount a camera. We mounted that rig on a car and had drive thru city shoot; also some extreme angles and so on… P25+ back is borderline but even P40+ is more then enough for an 8k. With P65 we will be more then fine. Hasselblad is square format but chip on P65+ is 53.9 x 40.4 mm ratio is 4:3. The only problem is a max speed of 1fps not an image quality. This was by far best digital image result projected on big screen that I had and it would be fantastic if we could do more then 1fps… in a couple of years I hope! Our film has a lot of animation and in any case we have to do a digital print. I don’t think it is going to jump, based on what I saw in tests but as soon as I see test print I would be able to report on this. Thanks for your interest

We are in a pre production of an 3D Imax film and this strange rig is discovery of the month for us it looks strange but it really works good. We “made” this little rig just for test and it instantly proved that is an alternative for timelaps and stop motion. Next step is to build fully adjustable telemetric mount for cameras (intraocular and convergence), make a housing and battery plant for long usage. Image quality of phaseone p25+ digital back is terrific and with this resolution we are almost in range; 5436 x 4080 pixels. Plan is to try new PhaseOne P65+ backs and get best possible image in 8984 x 6732 pixels only problem is availability of the backs. Lenses that we used this time Zeiss Distagon 40mm and Sonnar 180mm are up to the task and we didn’t have a big difference in the eyes. Interesting trivia is that almost same rig (Hasselblad 500EL camera) was used by Apollo mission on Moon; no digital backs at that time! Workflow is bit hard but that is life… I will upload some samples soon Thanks and I hope this will help someone in future. Luka

Thanks it worked! I also talked to Ken Stone and he is really cool fellow; now I just need to build a cable 12/24v xlr4 to xlr3 cable and to test the rig! Thanks for the help.

Hello, I just got my self in to a Mitchell! Coning from other side of Atlantic this is my first new camera experience in brave new world. Camera is Fries r35 with variable sector, Nikon mount, Noris motor, controller (scg300) and capping shutter. I would like to get a Fries Manual can anyone help me with this. Thanks

ha, if you are looking for BL4S or Evo then yes but Arricam c'mon man this is Montreal :) best bet is to go with Michel Trudel and order them from TO... I hope this helps :(

Hi everyone, I am looking for Elite Mk III set for rent in Toronto, so I was hoping that someone hire can point me I right direction. Thanks,

Hi, compact has excellent optical system in my opinion and I had good experience with it. It is completely modular and easy to setup. Viewfinders are interchangeable between compact and SL (there is optical adapter plate). SL handheld finder is darker but it is really small and compact. I used SL with compact finder and MovieGlow and also with SL optics. Eyepiece and extension tube are mounted via Leica M mount, so it is even faster to interchange then Arri. Last time that I shoot with Super was in ?99 so I cant really remember it, but in my opinion Compact/SL system is bright, lit and cinematographer friendly. I hope that this is helpful.

Couple year?s back, I set eyes on semi ?plastic? IIC. It had composite material custom build door and whole side cover. Small motor (revolution style) was mounted via inching knob and camera had SLcine mag. Guy was flying that camera on EFP. Only impression that I remember is that camera looked super fragile and loud as hell (that doesn?t matter but?). Whole modification job looked expensive and fancy, and I guess it wasn?t cheap. Seams a lot of money for just couple hundred grams of reducing weight. But what do I know; am not a Steadicam operator; probably when you take 300 grams and multiply that with 10 hovers, on your lower back, every gram matters.

Hmm, spectra series II is bit smaller, I have to try sphere from IV. This globe holds together but it has crack, and it is just matter of time. Am hoping that someone here has good knowledge of this meter. Thanks

Jonathan it is chrisms time, miracle time of year; it is all about faith! Maybe there is good soul out there with instruction manual for that old beast, scanner and good hart? :rolleyes: PS: I need to replace sphere (it is in one-piece but it is just matter of time) any advice; anyone? Is it compatible with anything? thanks Luka

Cinemeter II Hi I know this is old subject but is worth of shat; I need Cinemeter 2 Manuel in PDF, and some spar parts ASAP! Anyone? Thanks. Luka

Hi I know this is old subject but is worth of shat I need Cinemeter 2 Manuel in PDF, and some spar parts ASAP! Anyone? Thanks. Luka

Hi, my old AC has work I Techno Vision beck in ?80 and prior to that work in camera shops in France. His knowledge of Cameflex is stunning. Only problem is that he is 76 year old and he don?t speak English. I will call him tomorrow (it?s being a long time and am planning that call for long time), and ask on his opinion on motor for that camera. Luka BTW: I need Cinemeter 2 Manuel in PDF, and some spar parts ASAP! Anyone? Thanks.

If you are planning to invest any money in that camera my suggestion is to do it properly. Nikon is OK, bat as you know, Nikkor?s aren?t cine lenses, and if you wish to use that camera as second unit camera on other projects it is necessary to have PL. If you are in US best place to start, is to contact George at Optical-Electro House, they are in Culver City, Ca. They manufacture crystal motor for CM3; if am not mistaking. And they can make videotap also. I am not best fellow to consult on éclair cameras, someone hire can give you good advice on what to do, and who to call. But in my opinion that camera without PL and modern motor is barley useable. But again, maybe ?am mistaking. Luka

No, I didn't used CM3. That scene was shot with BL Evolution and 435, and I think that shot came from Evo. I just had tow Kinoptiks 50 and 100, rehoused with PL. On same shooting day I used Astro 200mm, probably from early '60. I have scans on 2k and I can try to get that sample too. On the same project we had one more reminisces scene shot on EXR and I push it for tow stops. It was excellent but whole that scene went out in final cut of the film. Hire is the sample with bit more grain. Initially I was thinking of over exposed reversal, but I dropped that idea and decided to go with EXR. Anyhow all that EXR work was les then 10% of film. In 2000 I was shooting film in Havana and that was last project that I shot entirely on EXR. For sure it was significant stock, and had it had a character. From my experience one other interesting combo was Fuji F400 and old Schneider's full open, in Hi contrast scenes. CM3 aka gasmask is great personal camera. If you make one with: quartz motor, Video assist, and PL- Nikon turret; it is highly useable. My friend had one, but clients reacted badly all the time, calling camera “Thing”. : But it was charming device with constant mechanical issues Luka

hi Kinoptik and EXR combo is deffinetly good mach if you want to achieve certain look. I used same combination recently, to simulate atmosphere of ?old days? footage. It worked out great. Unfortunately I don?t have any more EXR! Luka

Hi, Something is worrying me for a long time now, and I would like to share my concerns with you, and ask on your opinion on this matter. As we all know there are only tow major manufacturers of motion picture lenses I the world (not counting panavision or other smaller or specialized shops). More and more, digital cameras are using 35mm lenses and definitely large number of personal 35 cameras are modified to PL. Demand is high and but nothing is going in the market, except that used equipment went thro the roof. Number of cameras per lens set is constantly growing and I am afraid that in year or tow we are going to have lot of headache over this. Recently I went to see AC friend of mine on some low budget shoot; and they had S4 mounted via pro35 to digibeta camcorder. I must say that my knowledge of electronic camera is limited but that seems to me as overkill. I asked young DP way he decided on S4 and not on Zeiss SS or standards and he didn?t give me any valid answer except disrespect. On the other hand I know tow proud owners or Red cameras and by their standards even Master Primes are disputable of Red?s ability. If we say that truth is some ware in the middle; fact is that Red and Pro35 are both S35 format; all of as are going for tow possible solutions UP?s an S4?s. I am facing a problem now! We are prepping a film and more then 70% of the scenes are in exterior. Estimated time now is a 9 weeks of shooting, but probably that will extend to 12. ?Weather? is one of the ?actors? in the movie and we are completely averred of possible extensions. If we count in brakes during that period we are facing approximately 12 weeks of shooting in 6 months period. Budget is limited and I can?t act as drunk seamen and rent for 6 months. We are shooting in S35 on 535 and 435 combo. Camera is not the problem but availability of S4 is an issue. I have my personal set of Zeiss standard primes in PL but I can?t mix them. I even considering to buy used set of UP as last option. I really like S4 and this project is definitely Cooke?s cup of tea. Whole this story a side, lens set became a ?star? and almost mythical animal if your budget is tight or your project over stretched. I had conversation with different industry people and heard some ideas about ?New thing from Russia? or ?cheep but superb lenses for digital camera? and so on. Somehow I think that is far from our daylily reality. So unless we work on big budget with Primo?s or Master Primes we are about to face some problem in future, mainly concerning availability of our favorite glass. I must say that I had pretty good experience with Russian glass in the past. I shot documentary on Optar Ilumina lenses and one add with first series of Ellit?s. On boat occasions I was pleasantly surprised with results. And if we are talking abut future big production of lenses without Mechanical issues; am afraid that we will be in same demand. Especially today; when brand of the equipment is a part of a trend and image of some filmmakers. I am afraid that noting new is going to happened on the market and number of cameras in demand for S35 will double in next couple of years; and we cinematographers have more DI options and possibilities then variety of lenses that we can use. This is pure absurd! Its sure that this matter has already being addressed in other topics, but am wondering about wider picture here and I would like to know what you think on this subject. I posted this in 35mm forum and not in Lens forum because this issue is directly affecting 35mm cinematography. Thus are my 2-cent on a fact. I am sorry if I was to long or if I unwillingly offended someone. English is not my first; niter a second language, and I apologies for some misspelling I made in this post.

Hi That is limited budget and you didn?t specify type of meter (incident or spot or new style combo). I am afraid that for 200$ is impossible to get anything worth of money except Sekonic Studio Deluxe III; it can be your ?safety? meter when you get something in higher price range, so you don?t waste your money. Used meter is always a liability if you intend to use single light meter on shooting. Anyhow there are lot of different opinions on light meters in cinematography and styles of ?measuring? lights? My main instruments are Minolta Spotmiter F and Spectra IVa. And then rest of meters: Minolta Colormeter III, BS Flickermeter ( not photometer, but it is very useful tool especially with HMI?s and generator), Sekonic Studiodeluxe (work horse with no need for battery and silicon photocell is color ?blind?). To make conclusion; if I was to pick only one to work with for the rest of days, it would be Sekonic Delux and I would be happy. Cheers Luka Sanader

Hi Couple days a go I shot similar situation (boots splashing water) with arri III and it worked out fine. We shot on Fuji Reala ( it is irrelevant but just saying), arri tilt shift system 110mm; scene was lit by bunch of kinoflo`s and couple 5 K tungsten fennels ( on problem with flicker :). so we run camera at 100 fps and shutter at 45 degree and as I sad earlier it looked nice; smooth movement of water drop and nice reflexes on dose drops ( low key situation). Only down side was that we needed lot of light; 4 stops for ?camera? and because of tilting and shifting we needed to achieve minimal DoF so we shot it at f4? I don?t know if it?s too late for advice but am suggesting to close shutter on 45 degree you will lose one stop ( tree in total) but it going to look fine? Luke