Oron Cohen

Someone asked on there(Twitter link): "Why on earth to shoot 35mm and not show it in the very medium it was shot on"... I'm asking the same! I mean, I don't have anything against 2K projection, there are even some things which are better when projecting 2K, but still, 5-10 prints are so hard to make?

Anyone knows if there are any 35mm prints or better 70mm prints for this film? would love to see a Bond film shot on 35mm on the big screen on film. I mean they did a print for Sky Fall which screened at the Prince Charles Cinema a while ago and that was shot on Alexa...

According to the aperture info(around T2.3), it does look like Cooke Speed Panchros SII set. probably a rehoused of some sort. sometimes people give the rehouse a name...send us a photo of them and someone could probably tell you for sure.

Sony keeps the rights for their mounts, so no way that would happen. MFT has been used on several cameras quite successfully (GH4, BMCC, BMPCC, JVC), but not sure if it's passable due to flange distance issues from sensor? PL could work well though and make life easier on rental houses having the camera as backup body.

MFT would be the best I guess, but I PL would be good as well :-)

I understand where Bill is coming from and also really respect Mr Mullen reply. I would just ask, if possible, even though Tyler is super passionate and all, it will be nice to go back to this thread subject, which is, this great compact camera, that does a lot for a (very) reasonable price! I shot on Dragon 4K before and it looks great, and if it's same sensor I don't see a reason why this won't look great. I personally have decided not to own equipment, so I'm not going to buy it for now, I think it's better and more professional to rent per a project, especially that what really worries me before every shoot are the lenses, and a good set of lenses cost like 5-10 Ravens anyway, which leads me to my next point..: it'll be really good if they'll offer this camera with a PL mount as well, that will be great for many people.

It's funny where this thread went... I think some of the comments here are very unprofessional...saying only Alexa is the camera to shoot on...F65 is not good enough? what on earth are people (mainly Tyler) are talking about?? Saying Red Dragon is not a good sensor it's just laughable! As a dop you can say it's not for your taste and that's fine, but technically speaking? DXO mark found the dragon as the best sensor they ever tested!! EVER!! Not that it matter btw, because as I said, F65, Dragon and Arri are ALL up there at the top, and the DOP and director will choose the camera according to tests, it's not one camera for ALL films, that will be horrible. Going back to Raven! I think as a B cam or C cam, as a beginners camera or as a camera for as small production company or people that want to do high end weddings or corporate films, this is a wonderful tool and a marvel of technology! Small body, lightweight, shoot 4K RAW, shoot Prores 2K, shoot Slow-motion compressed 4K, cost about 12-14K including some media and battery...and uses one of the best sensor ever made. Having options is great, a pro dop don't need to get into what marketing strategy company A got or company B got, you do preproduction , you test, you choose you camera base on that, all the rest has nothing to do with our job, which is to tell a story with light.

okay, thanks!

Great example Mr Mullen, I personally LOVE to cheat coverage shots all the time, as long as it looks good and feels like it will cut well, why not? Wanted to ask, what did you mean by LED eyelight? is it a specific light? Thanks, Oron.

Tyler, I'm sorry but from your post it's not clear how many days you shot with RED cameras? I just completed another feature on an EPIC, 23 days of filming. I was very pleased with the image, the images are NOT comparable to ANY Balckmagic camera I've used, also, Blackmagic cameras are not on par regarding build quality, they are aimed for people that want to buy cameras and only care about the price. I use both RED and ARRI, it depends on budget and look I'm after, I like to use both and would love more choice at the moment I see RED and ARRI like I used to view FUJI and Kodak, while obviously ARRI is Kodak and the RED is FUJI to my eyes :-) Some terrific looking stuff came out that were shot on RED, I really don't like this fan boy attitude, I really could care less about the camera, but as professional I can feel in a few minute if a camera was build for the pro market or not. Just recently I've watched 'Better call saul' and 'Louie' both shot on RED and look great, also 'The Social Network' and 'Gone Girl' which I like, not to speak about 'Prometheus' and many other films which had massive budgets. For me, RED code is easy to work with this days (yes, very easy actually), I could shoot 5K up to 100FSP, the camera body is build well, small and light weight and it's got OLPF which (again) for me really help the image and cameras like BM don't have. BM cameras are a good tool as a B or C cameras at the moment, let's at least wait and see when URSA mini come out how the images look like, and no, not on VIMEO, but after me testing the camera and project it on a 2K Projector. As for the Raven, it meant to be RED answer to cheaper cameras and for people that are starting out or want a B cam for the EPIC. I personally agree with Adrian and really don't like all those games with crop factor and would prefer sticking with super35 which I feel is the perfect size for a cinema camera, but days will tell. Bare in mind, that when you're on set with 50-100 people around you and have massive pressure to deliver the best images you don't care less how much a camera cost, you just try to get the best camera you can get or/and the best camera you can afford for the project.

HI Tyler, Thanks for your reply. Are you a DOP or Director? in your title it's says director and your answer suggest you haven't read my original post or follow up post, I really want to keep this thread on track as even though the comment is well appreciate it's really off topic. If however you want to contribute form a director perspective and tell us about dop you worked with that had a small personal camera NOT for shooting a film please do.

This has become rather fascinating little thread! First I learned that many of you guys don't shoot any personal moving images apart from your work for others or at best shooting on your iPhone which is actually what I'm doing now. I've actually heard of dop's that like to shoot personal doc project, experimental films, shooting person diary and of course family films etc, but I guess that most DOP's don't really care much about filming more stuff on top on what they already do, as well as the fact that dop's main work is lighting, and if there is no lights around, I guess it gets kinda of boring? Secondly I learned that many of you guys carry around a still camera and love taking still pictures, this was not my original question at all, but it was very interesting to hear, I'm a huge fan of photography, and I love taking photos and actually have 4 cameras at the moment: Rollie 3.5F, Minox 35GL, Nikon 8001 and Yashica FX-3. I Also have a DSLR (Canon 60D) which I carry around to use (as many others as said) mainly as director's viewfinder, this also connects me to other comments being said by Satsuki and Adrian that I can't stand using this camera for Video. I will add that originally my question was more aimed towards the ones that work on higher budget stuff, it's interesting to know if they feel like they want to have some sort of a video camera in their bag? or they can't see themselves filming anything Personal during production or even off production? - Freya, That's a great insight on the Kodak camera, I never really heard of it, I'll defiantly try it out!

Hello Everyone, Have a question that is mainly aimed for cinematographers that do films and TV fiction with a budget. Usually on set you'll use equipment from a rental house: Alexa, RED, 35mm etc. Also most DOP's don't own camera equipment. My question is, do some of you have a small camera that you use personally, mainly for fun or small personal stuff? a camera that if you travel to a different country to shoot, so after day ends or before it begins you shoot a bit of the place or when you're with your family you film the kids with? Would be great if people share what they use, BMPCC? DSLR? GH4? or just an iPhone... Also, the one's that share which ones, please share if at any point you decided to use that camera as a B or C camera (even though, if the project is well budgeted I guess it's not needed).

Have you considered the digital Bolex? I never shot on it, but form videos I've seen online it got a vey filmic 16mm look (It got a Kodak sensor, so not surprising) coupled with some vintage lenses could be a good combo. only problem is, where do you rent one? Another very filmic 16mm style camera is the Ikonoskop A-cam, which has a beautiful and very film like image to my eyes and it is available to rent from some places.

where are you buying the camera from? (if it's ebay you get money back guaranty anyway... ) can't you get any details from the seller? I personally never seen this model/version, but it could also be that modifications were made by a rental house technician. Also, If the seller doesn't give you clear info about a camera, or say he doesn't know it, I personally advise you to stay away...

Just watched a bit, and from what I could tell it was probably shot on super16 film, they might achieved the colour effect in DI. Film renders natural light and skin tones beautifully while holding highlights. They probably also added a bit of fill light using small fixtures like kino's or other small lights (probably soft ones). They might also chose the right time of the day to shoot different shots...

On top what the other suggested, and I know it's a long shot, but recently I had a friend coming to me with the same problem, and we discover he didn't have the latest firmware update, and although the camera did record video from time to time, he always had problems with video. So do go to M mode on the dial, then check if you have the latest firmware(it's 1.1.1 ), if you don't have it, you could download it easily from Canon website.

I agree with Nate Weaver, about the Sony. I would defiantly prefer a Sony F5(or F55 if budget allows), there are so much easier to deal with on a shoot, no monster rigs, no weird adapter, professional standards, and they would cut better than BMCC or EPIC and are much cheeper to rent than Alexa. If you can't get a Sony get the BMCC, as RED has a look of their own, which I feel is slightly more difficult to match to Alexa.

I think as Adrian said, you have to use some sort of an adapter from C/Y. you could go MFT to C/Y directly if you're fine with super16 depth of field or the more expensive speedbooster EF+with C/Y to EF adapters which will give you super35 depth of field + You'll gain one stop of light in the process, which is nice bonus using a speedbooster.

From what you're asking, I actually would go with Blackmagic, but not the 4K, the Pocket with a Metaboones EF Speedbooster. I recently shot with it, and out of the box it felt so much better than a 5D. more like a cinema camera. It's shoots 10 bit, 4:2:2 in Prores HQ and also shoots RAW 12bit, which is prefect for you to play with the colour in post. it also got more dynamic range or at least the same as RED from what I saw, defiantly in RAW it's the same, but highlight rolloff is nicer on BMPCC. Also, it got MFT mount, so if you feel like from time to time you want to go super16, it opens up a huge options for other lens mounts adapters and lenses. BUT, just as a note, I would wait with buying a camera after NAB which is only a month away.

Could you elaborate a bit more about why you like to buy a camera? what kind of work you do? Is it for a specific project? What's your experience with both? more info the better. I used to shoot a lot on the RED ONE, it's very solid, but RED are going to stop supporting it properly soon. It's a PL mount Camera, there is an option for some Nikon mount I never used, no EF as far as I remember. I personally only used it with proper Cine lenses, which will cost you 20K+ and a lot of lights, and you'll need a powerful machine to work on it in post if you like to work on it yourself (Mac Pro etc, no laptops). Also, support is 35mm film world, meaning heavy tripods, and any other mounting or steadycam would need proper (expensive) equipment. As you stated you have really Yashica lenses, which are a lower cost version of the wonderful Zeiss Contax which in themselves considered inexpensive ( a steal really) for RED users, I'm not sure it'll be a good idea for you to get into RED One world. Maybe Scarlet MX.

I agree with Rakesh, that it changes from a film to film and from one DP to the next. In my view, roughly 70-80% of a REAL film look comes from costumes, art directing, set dressing and of course the main work of the dop: lighting! do you happen to have a few lights and grip trucks laying around? Sorry, not saying anything to let you down, just my view is this art form is mainly about painting with light, not trying to calculate a magic number combination, it's art not science, even though we can be too geeky sometimes!

Thanks for the info. It amazes me how time changed, from a pure technical point of you. A student or an Indi filmamker 10 years a ago, would never get those shots/look, as he would need a 35mm camera, a truck of lights (big ones), very expensive Helicopter to actually fly with the camera and super expensive post production DI facility. New times indeed! Now it's just about telling good stories.

Looks great, would be interesting to see the all film. Could you please share lights, camera, lenses and also rigs (how did you do the arial shots)? Always interesting.

I forgot to also mention the obvious fact, that apart from the look, one camera is UHD and one is HD, UHD can be a great benefit in post and in downscaling for 2K DCP, but again, it's the look you're after that is the most important, C100 still might suite you better after a testing both for this specific film.