Sanji Robinson

Adam thank you, i am looking for ground glass not lens

Hi I want to buy academy 2.40 anamorphic ground for the 435 or 535 if someone has them. Please DM me.

Hi Does anyone sell it?

We are selling the G.L Optics 18-35mm T1.8 and G.L Optics 50-100 T2. Both are in PL mount. The mount can be switched by a professional to EF. They are in top mechanical and cosmetic shape. They are 100% clean, no scratches, no dirt, no dents, no fungus. Rings are smooth and operational. These were never rented out, only used personally. Glass is the high-performance Sigma Art 18-35 and 50-100 rehoused by G.L Optics. It may be one of the sharpest high-speed zoom lenses ever made and comparable to the Angenieux Optimo. For the price they cannot be beaten. They cover up to 6K sensors. They are collimated and par-focal (hold focus when zooming). Both lenses were recently serviced by a professional rental house and checked with a collimator for accuracy. Focus is spot on. Focus throw is 120 degrees. Located in Europe. They can be picked up locally or shipped to anywhere in the world. We are accepting offers. Please send us a private message. Read more here: https://nofilmschool.com/2016/09/review-gl-optics-sigma-cinema-lenses-18-35mm-f20-50-100mm-f18 Test footage (18-35 T1.8): https://vimeo.com/163102472 Test footage (50-100 T2): https://vimeo.com/178299423 https://www.youtube.com/watch?v=bAvE_sGxqko Specifications: https://www.cinegearpro.co.uk/products/g-l-optics-18-35mm-t2-super-speed-pl-mount-zoom-lens https://www.cinegearpro.co.uk/products/g-l-optics-50-100mm-t2-super-speed-pl-mount-zoom-lens Reviews for Sigma Art 18-35: https://www.dpreview.com/reviews/sigma-18-35-1-8 https://photographylife.com/reviews/sigma-18-35mm-f1-8 https://www.imaging-resource.com/lenses/sigma/18-35mm-f1.8-dc-hsm-a/review/

thank you but read this written in the ASC book "Many people believe it is an advantage to shoot 1.85 because spherical lenses are sharper than anamorphic 2.40’s lenses. is is a misconception. It is true that spherical lenses are sharper than anamorphic; however, the much greater negative area used with anamorphic more than makes up for the subtle difference in resolution from spherical lenses. Properly executed camera tests comparing the two formats always reach this conclusion." has anybody seen both side by side?

asc book says: "the principal disadvantage is the actual size of the 1.85 format on the negative. Because of the smaller area, 1.85 is noticeably grainier than anamorphic 2.40. is is not as noticeable in the original negative stage and projecting in small screening rooms, but becomes more pronounced when projected in large theaters." "the most salient advantage is the much larger negative area. A 55% increase in negative area over 1.85, results in finer grain, better opticals, and an increase in apparent sharpness (I say apparent, because while a similar image photographed in 1.85 may be sharper, the increase in grain and greater magni cation actually make it appear less sharp). the difference becomes most apparent going through the dupe negatives." "Many people believe it is an advantage to shoot 1.85 because spherical lenses are sharper than anamorphic 2.40’s lenses. is is a misconception. It is true that spherical lenses are o en sharper than anamorphic; however, the much greater negative area used with anamorphic more than makes up for the subtle di erence in resolution from spherical lenses. Properly executed camera tests comparing the two formats always reach this conclusion."

to clarify I mean how does a anamorphic print compare to a 1.85 print, both made directly from the negative? in terms of sharpness that is

If printed directly from the negative and projected on a screen, how will an image shot with 35mm film using spherical lenses in 1.85 compare to an image shot with anamorphic lenses and desquezed in 2.40? Will the anamorphic image appear much sharper on the screen? Assume both lenses are equally sharp. Please someone who has seen both projected.

Contact me for more details

Thank you Dom. The 535A does have controlled mirror/shutter ramp capability. The B version doesn't. The problem with arricam magazines is that they are displacement mags and not coaxial. Coaxial mags have a clear feed and take-up side. Does the 535 mags need tension and sprocket adjustments? I 100% agree on weight improvement with the arricam.

Your honest opinion Is there anything the 535A can't do that the ARRICAM ST can? Other than weight, is the ARRICAM system worth it? Just getting a perspective on ARRI 35mm cameras in today's world.

For sale: PL-mount Sigma Cinema FF VistaVision 24mm T1.5 High-Speed Prime Lens. It can resolve 8K resolution and is extremely sharp at T1.5. It can't be beaten. The lens is in great condition and was almost never used. No scratches, no dirt and no signs of being used. Glass element is super clean and rings operate smoothly. The lens is in PL mount. Located in Los Angeles, California but can be shipped anywhere in the world. USPS, UPS, DHL and FedEx shipping available. I am open to offers! MRSP is $3,499 + tax. Sigma's FF High Speed Prime Lenses combine the same high-quality optics and mechanics of their Global Vision still line in a cine-oriented design. This 24mm EF-mount prime is a wider focal length in the series, offering full-frame sensor coverage, 6-8K resolution, and a T1.5 aperture in a compact, lightweight form; it is also available in Sony E and PL mounts. A common 95mm front diameter and similar physical attributes across the lens line make it easier and quicker to mount lens accessories such as matte boxes, follow focuses, and lens control motors. The 9-bladed iris produces pleasing out-of-focus bokeh effects, and ghosting and flaring have been minimized. Color reproduction is standardized for easier color correction. Each lens in the range offers consistent lens gear positions and 180° of focus barrel rotation. The FF High-Speed Primes also feature a clickless iris with linear markings, dampeners on each gear ring for silent operation, industry-standard 0.8 module gear pitch, and engraved markings for durability. Select markings are done in luminous paint for easy visibility in low light. To relieve stress on your camera's lens mount, a support foot is built into the dust- and water-resistant metal lens body. If you wish to fit your FF High-Speed Prime lens to a different camera, the Canon EF and Sony E mount versions can be converted from one to the other by an authorized Sigma service center (not available for PL mounts).

Can anyone help?

I am using a Arri CCD 2 FR PAL video assist connected to the camera's Video Optic Module (VOM) and a Transvideo Rainbow II monitor. It was working yesterday and I was getting a "decent" image but I turn it on today and it gives me a black screen and says "No Sync" on the Rainbow monitor. I don't know what happened. I double checked my steps: The Video Optic module is on, light's on, check The Video Optic module is connected to Arri CCD 2 FR (check) Try a different cable from VOM to CCD 2 FR (check) BNC cable connected from VOM to CCD 2 FR (check) Try different BNC cable (bought a new one, check). Try to switch between A and B input on the Transvideo 2 monitor (check) Switch Standard to PAL BG on Transvideo monitor (check) Transvideo monitor is on (check) Nothing, it's a black screen and just says "No Sync". Help?

Our company is looking for these lenses Especially the 18-85mm zoom

Message me if you have any of these.

Anyone?

this is not the lens we are looking for, sorry fred. we want to buy a batch of 5 lenses if possible at once.

Hi We are looking to buy a couple more of these lenses for our company In PL mount please. We are looking for both the rehoused versions or the original Sigma Cine version Please message us asap if you have one for sale

to DP's: When doing prep for a movie or short, what is on your mind? Do you spend sleepless nights thinking about how to best shoot scenes, what lights to use, watching movies for inspiration and so on ? or do you do the days and hours of "official prep" and think about non-film things for the rest of the day?

Yes. Even the DP7 LCD version comes in a normal brightness and high brightness version. My question is more about which on board monitor on there creates the best viewing situation for LUT'S?

OLED's are better. They have deeper blacks and a glossier feel to the image. At least that in my experience the Odyssey is very good at showing LUT's while I have never tried the DP7 OLED. Anyone who know more about the DP7?

Hi I am using the monitor primarily for loading LUT's and being able to get the best image and best color remapping from the camera using a preloaded 3D LUT is the priority. Right now I have no way of testing it so I am asking you, the professionals on this forum. From these monitors which one is the best for this task Odyssey 7Q+ OLED SmallHD DP7 Pro OLED SmallHD DP7 Pro LCD I am also open to other options. Thanks

Hi I originally posted this under the 35mm category but I didn't get an answer, so reposting it here: Does anyone here know if the Arri 535 steadicam magazine works flawlessly on the 535A and how does it compare sound-wise to the normal 400 foot magazine? Also any pro tip on maintaining the 535 and keeping it from having to get serviced?

Could you recommend a type of foam? Maybe a link to a website that sell these fairly cheap?