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Oron Cohen

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About Oron Cohen

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  • Birthday 05/05/1981

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  1. The technology has evolved, the lenses I mentioned like Alura, angie etc, are sharper, almost as fast or faster, lighter, better CA, less fall off, so what are you gaining for using those Vari-Primes? If they were that good they would have come out with a V2 for them and people would have gone crazy on them on the second hand market, there is a reason why they are not in demand. At the time those lenses came out, they were the first of it's kind, things have changed since then, and they are now history. Again, the only reason to use them, is if you tested them for a particular projec
  2. I had the luck to actually see this lenses in person years ago, they are massive!!! Consider you have today Alura 15-40 and 30-80 or the Angie 15-40 and 30-90 EZ do the same job, and weigh about 2Kg...Why would you use those monsters unless you really like the look? - They also breath pretty heavily The Standard are lovely lenses, beautiful classic look, cheap, very small and lightweight and very sharp wide open. make much more sense the 3 mega monsters that you need to swap all day.. :-D
  3. Actually B&H are having a sale now for the Panasonic GH4 including the V-Log add on for on 1K USD. Add a Metabones Canon EF adapter, a 17-50 or 24-105 (look at B&H used section) lens and Rode mic, and you'll have a workable package for around 2K ish. Or for around 3K including a lens get a used C100 markII + lens , only down side it's only 1080p, but it's a wonderful video camera with all the bonuses you want for a video camera, like XLR's input, good in camera mic, auto focus, native EF mount, exposure and focus tools and very nice to handle in a documentary situation. Although i
  4. I'm really looking forward to see this one! Hopefully I'll watch it on 70mm. Recently watched Kubrick 2001 on 70mm and was blown away, also watched Interstellar on 70mm IMAX and loved the experience (but not so much the cuts to 35mm).
  5. This is tricky, because we don't know how much you guys talked before hand. Did you ask the director how he works or plan to work? did you made a small test shoot before hand? did you discussed how to you both see each other working together? did you discussed in depth the visual style of the film? If the answer to some of the questions is NO, so I believe you should suck it up and learn that next time you will, as you can't just tell him he is not doing what you planned (many directors work in the way you describe, like Coppola on apocalypse now). However the answer to all the quest
  6. Totally agree with what everyone said here. To the OP: You said it yourself in the beginning, you haven't done much cinema filming, people get confused and think shooting a music video or a corporate film it's the same thing as shooting a film, so guess what: it's 100% NOT. Cinema is an art form, you're creating a language, something that should be a one of kind creation aiming to tell a specific story, the all working process and approach is different and you need to tune your mind to a different channel when you're doing a film. My other note will be that, as opposed to commercial
  7. Brenton, you write on your info "other", could you please specify what do you? If you are a Cinematographer or want to become one, you do need to know those things on a basic level I feel, as your AC will sort out camera cables etc anyway. a few methods to learn about connectors: 1) Go and look at videos from companies making accessories like Wooden Camera for example, they have a tone of videos on youtube showing different methods of connecting things, Arri have some good videos as well and Abel Cine and I'm sure there are more. 2) If possible go to a local rental house and as
  8. I don't want to start a long discussion here, but from real life experience on sets, BM is not a factor in pro environment, the usual suspects are (at the moment): Arri, RED and Sony F5/F55 and I really think Panasonic Varicam should be used more as it looks amazing! There are reasons why pros prefer those cameras. As for Raven, Raven is giving you a LOT of what Weapon are giving you, which is a 30-50K camera. Also, r3d is now native for most editing systems and you don't need a super powerful computer to edit it(but it does need to be powerful), as the editing software just drop the qual
  9. I was actually torn about leaving Sunset Boulevard and Alphaville out, great picks!
  10. 5 films is not much :) so just films from the top of my head and that I really like the Cinematography in them, but there are so many more! - Ivan’s Childhood - The Night of the Hunter - Vivre Sa Vie - Tokyo Story - Europa
  11. Hey Brenton, I think a budget will help, "not huge" isn't clear enough, for me, an inexpensive PL super16 lens is around 3-4K USD at least. If it was me, I'll suggest one of the Canon zooms, like the 8-64 or the 11.5-138 , those are for most part sharp, and you could actually shoot a film with one, I would prefer it over primes which are quite expensive on super16 and will limit you as you probably don't have a budget for a set, so you will be stuck with one or two focal length. Another option is the G.L optics PL conversion lenses, they have a Tokina 11-16 and 16-28 PL lenses as
  12. Storaro is known for being elegant dresser, I still remember the behind the scenes of Apocalypse Now and how well dressed he was in the middle of the jungle :) he got Italian class.
  13. I respect what you're saying Freya, but honestly I don't understand where you get this? as I commented before, I was absolutely certain you are being sarcastic in the beginning saying C-stand are not used in the UK. I could understand why they will be less C-stands or no stands on an ultra low budget shoot, that's mainly due to the fact that many people in London are amateurs that claim that they know what they're doing and they just don't know how to use lights if they did they would have rented some c-stands, sand bags and flags as its really cheap to rent and make it all the difference
  14. C-stand rare in the UK? what? are you being sarcastic?
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