Jean-Marc Plante

Big part of Blade Runner's classic would be related to it's aesthetic, dirty Film Noir-esque impression, which has turned out to be a real passion to me (I still prefer shooting my Canon XL2 over digital glass cannon nowadays), and I am really, really scared the digital camera world, be it RED, Arri or Sony, will ruin it, along with Deakins' Wide-opened lens habit. I'd love to see it shot on an Aaton Penelope, personnally. If they are to stick to Digital, My dream is they'd use an F35 or a Panavision Genesis, but hell, it will never happen.

Guy holt, this is an Adamant point you just brought to the table. Thanks. I think the plan is drastically changing now though. Will need to talk further with the Director.

Looks like a Mole Richardson, judging by the color, probably 10k.

Hello fellas! Will be DP on a shoot with friends soon for a videoclip. We have about 40k budget, and we wanna try something new, therefore I'd like some advice! We're gonna shoot on a phantom 2.5k, Prores 422, slow-mo shot of gunfire on a single man. My mentor, an experienced DP, suggested I should not touch any HMIs at this speed, and stick to 5k tungsten scoops and above, as anything under will start flickering (black bodies cooling too fast) This is gonna be shot in a cemetery, therefore we will be using a geni, I thought we would have more then enough with a 300amp. As for the look, I wanna make it look like it is moonlight, without feeling the source. I thought going too strong on CTB would cut too much light, and so not got any further then 1/2, balance the white on the camera accordingly, and blue it up in post. What kind of diffusion should I Use? Should I stick to 4x4 frames, get those close to the source and protect them using heatshield? And am I better of using Crinkos or a crane, literally, to hang those light sources. Looking for the cheapest alternative that still gets the job done. Any good tips for outdoor moonlight lighting, or anything shot at this speed, will greatly help me in my prep! Thanks!

Thanks everyone! I am sorry I went without response, as I didnt have any when we shot it. We stuck to the original plan. MTY Gels (thanks JD Hartman) and 1/4+Green worked well, gave a warm, kind-of-sick lavish color. I thought about that, we used mostly 40w cheap bulbs and cut directly on the lamps to achieve contrast compared to gelled Lekos from the windows. It is one of those shoots I barely if saw anything the DP shot, but he told me he was 2 stop OVER the whole time, to be able to crush contrats afterwards... Slog looked like middle of the day when I saw it... Guessing he knows what he's doing, but I would have gone the way you see it...

Buy a srew-on Variable ND, let's say 77mm if you're using old SLR lenses, and get cheap step-downs?

There will be some practicals, dimmed down to bare lighting at all. DP doesnt want hard light, if I am correct, only a glow. Most of the actions happens in two rooms between two women. Main source of light will be a 42 kino overhead in the corridor, on a polecat.

I'd like to have suggestions. I am gaffing on a small set, in an apartment. The DP wants low Sodium ambiance coming in from the windows, as if it was nighttime, but we're shooting during the day. We will be boxing the windows (which will never be framed), and will put an ultrabounce on 8x8 frames at 45 degress from the top of the window, with lekos punching in on baseplates from the ground (app. is on floor level). Sodium ambiance will be achieved with MYT gels and 1/4 +green. We dont have much stuff. Pretty much 2x lekos, 1x 44 kino, 1x 42 kino, 2x 750 arrilites, but we do have plenty of gripping. Camera is A7s + Odyssey Q7, shooting S-log balanced in Tungsten, 3200 base ISO, with Zeiss Standard primes, IRNDs 3,6 and 9, as well as a Hollywood BM 1/8. He wants to have a flattout, grey-ish look in the apartment, with the sodium ambiance coming in from the windows. My concern is mostly about that said sodium look, how would you guys light this up? Hit me up if you have questions about the available gear. Thanks!

Weird noise patterns have me thinking it was simply 'Noised' in post and shot in digital. General lighting seems very soft, very subtle, lots of reverses put actors in complete shadow over air light, and don't even have eye-light. My guess is it is a very nice work in post that gave the movie it's look.

I am kinda new at grading (to say the least), and I need to balance a free fashion try-out that was shot with a red MX on Redcode 32 with UniqOptics , Daylight balanced, Lit up with a few Daylight Divalights and 1x1 Litepanels, which the director played with (mixed Tungsten in to get a better skin tone to his eye. Problem is, While the Diva lights project some Magenta on the subject and is not too dramatic because they were diffused behind an half muslim, the Litepanels that were cast directly at the subject project horrible green shadows, and I don't know how to deal with that! Could anyone help me?

What I want to achieve looks more like this. Clean, aberration free, HD Blow-up. The Reds bleed a little bit, but that's Canon common problem even amongst DSLRs. The Sharper the lense, the better the result.

Thanks for the answer! But I will never be able to get infinity focus if I destroy my flange by using two adapters, but i've thought about it.... I am wondering if there is a difference in the lens resolution between the manual 14x and the stock fluorite 20x lens on the XL2. Where do you see those at such a low price? The lowest priced 14X I saw was 169$ on Adorama via Ebay, and most 16x range at around 400-500$ And yes, Optex is out of business, I've sent emails and made calls from L.A., through UKs all the way to Australia and can't find ANYTHING.

I am posting this in this section as I'm pretty sure it will get lost if I post it in SD camera systems topic page. I am looking to fit a 17-112 Zeiss Digizoom on my XL2 and have heard of OpTex doing such an adaptor, but I can't find it anywhere. I was wondering if anyone knows where to find specific adaptors at a reasonable price. All in all, the rental house for which I work has a complete set of Digiprimes and zooms that are sleeping on the shelves, and are willing to let me use them for an upcoming short. I am trying to get a similar look as seen on 28 Days later without using a Letus Extreme/EFlenses combo and getting that ridiculous crop factor,and am working on pimpin' out my Camera (Ex. Canon FS-CF compact flash recorder) to make it much more easily worked-with and much more predictable then the electronic zoom and focus on the 20x fluorite kit lens. Can anyone help me with this issue?

I wouldn't call that a bargain. If it would have been offered in the price range of Sony F55s, it would have probably sold like hot bread buns.

I've seen the Amira in test at my job, looks promising! What I've seen from it is: About the same size, a bit shorter, but much, MUCH lighter. Rugged, not waterproof, but definitely splashproof. 200fps Doesn't do 4k yet, the update will come by the end of spring 2015 (as the owner told me) The LCD screen with the viewfinder is crap, it is not backlit and you will lose the screen if you look at it from a larger angle. They will make an OLED one this year, but it's gonna be a ++ (around 5k) Cfast card are less expensive then SxS, which Arri now has the exclusivity off, and tripled the price for it.