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Dominik Bauch

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Everything posted by Dominik Bauch

  1. Has anyone used the Atlas lens co. 1.4x expander with anamorphic 2x lenses on a large format camera? I’m looking to use 2x Cooke anamorphics on a mini LF. I can get away with many of the focal Lengths but an expander would help clean up some of the excessive funk that creeps in and make them fully useable. Any downsides to doing this? I can live with the 1 stop light loss - added weight and loss of lens data is a bummer but not a deal breaker.
  2. In general I really like the Cooke Anamorphic i SF series. However I'd love to minimize / remove the slight blurring top and bottom of frame, most noticeable with the 50mm, 75mm & little bit 100mm lenses. So a subject is in sharp focus but becomes slightly blurred at the top and bottom of frame. I have zero knowledge of lens manufacturing and the elements used to make up a lens but it seems that this 'smearing' lessens as the T stop increases, also it seems to become less apparent when focusing to infinity. Is this blurring possibly an element that could be removed or replaced to lose this blur altogether? Part 2: The 65mm Macro is pretty tight image circle wise, just a hair more would cover a couple of useful Alexa Mini LF modes. Is it possible to expand the image circle slightly? Are there any LA based lens techs that could handle this safely and well? Many thanks for any insight or help here.
  3. Using anamorphic lenses on an Alexa mini with Arri LMB 4x5 mattebox. I want to get some colored grad filters, if I get a 4x5.65 size then I have no ability to move the grad up or down, so I could use 5x5 filters via an adapter frame, now I could move the grad up or down slightly but I’m losing horizontal coverage. With grad filters what is best practice re filter size? I don’t have access to a 6x6 matte box, will the 5x5’s cause me problems with super wide anamorphic lenses? I’m thinking 32 and down might be tricky. But having some vertical control might be preferably to full horizontal coverage on wider focal lengths. Any advice much appreciated. Thanks!
  4. Wow, what an amazing experience. Thanks for the insight. Definitely a lost art form, people rely too much on post / power windows these days. Nothing like shooting film and throwing a baked in color grad filter on top.... nerves of steel!
  5. Thanks, I'll take a look at those. I guess 6x6 is the way to go, 4x5.65 horizontal doesn't give much room to repo vertically but who outside a big rental house can carry 2 matte boxes... I wish there was more behind the scenes details for those Tony Scott movies, it's such a great look. Cinematography today is getting too clean and perfect.
  6. When shooting anamorphic, are vertical grad filters or standard horizontal ones best to use? Does anyone know what grad filters Jeffrey Kimball used on Tony Scott movies (Top Gun, Beverly Hills Cop 2)? I’ve seen a thread here where Claudio Miranda says Sunset filters were a go to for Scott on later movies but which manufacturer? Lee and Tiffen’s are very different... Back in the 80s what manufacturers made grad filters?
  7. I have two choices for dolly wheels (small platform dolly with around 100lbs of weight including Bazooka & camera package) Go kart wheels or double pneumatic wheels (i.e. 2 on each corner). On normal surfaces, wood floors, concrete, tiled floors (i.e. no off road or major cracks / bumps), which wheels tend to be more stable and give smoother results given these conditions? Any advice really appreciated.
  8. I have an option to round out a rental set of Cooke anamorphic i primes (32, 40, 50, 75, 100, 180) with either a 65mm macro or 135mm. To me the 65mm isn't really a big magnification and as I have a 50mm and 75mm in the set, I can just add a diopter and get similar results (albeit with some chromatic aberration around the edges but that can be nice at times and take the digital edge off.) I get that I can't focus to infinity but the weight penalty of this large lens leads me to be happier with adding diopters to regular primes. Am I missing something here as others have talked about the 65mm being special....? I'm leaning towards the 135mm as that's a built in close up lens, 100mm not quite there without a diopter and 180 is a little too tight. Looking for advice from anyone who has used these lenses a lot. Thanks!
  9. Thanks Tristan. Had a thought to try a hihat on a wooden board and use ratchet straps to secure the x, y & z axes. Possibly raising the board on apple boxes or something else solid. Unfortunately legit grip techniques are beyond my budget...
  10. Never worked with car mounts before, any help greatly appreciated. I'll be working with a roughly 40lb camera set up. Is the Matthews Brauer hostess tray solid enough? i.e. on Los Angeles roads... will it hold up well without jostling around. Ideally it's locked to the movement of the car. Is this the case? How about mounting in the back seat of the car, what's the easiest way to hard mount a camera for an OTS driver shot? Thanks
  11. For me renting for single days here and there is a huge Pain. Much easier and more flexible to own relatively low cost items so we can deploy easily and quickly without hassle. As long as they work well which is what I wanted to ask here.
  12. I like the look of the Proaim Spin Dolly. I can’t find any reviews online so I’m wondering about the quality and how well it actually works. Smoothness etc. Is the bazooka system stable? I plan to use roughly a 45lb payload. Wondering if there’s any flex or wobble with the Telescopic bazooka. Any experience or feedback on proaim dollys in general would be really appreciated.
  13. Super helpful, thanks so much for the detailed info.
  14. I won’t have a 1st AC around unfortunately, at least we o begin with. What are the best practice steps that I can follow to avoid any damage to either the mount or the lens?
  15. About to work with a 180mm anamorphic prime, pretty heavy. What are best practices mounting heavy lenses? I intend to use a lens support, just want to make sure I don’t over stress the PL mount by doing something stupid...
  16. Anyone know how the output compares between the Astera Titan tubes and the Quasar crossfade (daylight or tungsten). I love the potential flexibility of the Titans but I like the output of the Quasars (which I already own). Hoping the Asteras are close if not better.
  17. Just watched knives out. Yedlins tests looked way more like film that the movie. To me it looked super digital with overly sharp grain. All the interior shots had very digital looking blown out windows. Kind of surprised me given the hype.
  18. Thanks, 3/4 inch or 1 inch for wood? would you use washers?
  19. Can these be used with velcro? https://www.adorama.com/qsqbkt12.html Will Velcro hold the weight securely enough? Or are screws the old way to go. If so, what size works well, is a washer necessary? Thanks for any advice here.
  20. I'm thinking of using incandescent string lights like these for a shoot: https://www.homedepot.com/p/Hampton-Bay-12-Light-24-ft-Black-Commercial-Incandescent-String-Light-GLS-14J2-E26S-12/206561487 Anyone used similar and have any tips on the best kind to get. They will be used in a 2 car garage, so I don't want the light to overpower the room, more of an accent with the added benefit that they will cast some ambient light around. Going for a moody, low key look overall. Definitely don't intend to have them everywhere.
  21. Great looking show, would be interested too.
  22. Thanks, this is what I was thinking. Are there any good independent companies in LA experienced in modifying anamorphic lenses?
  23. Disclaimer: I have no idea about lens mechanics... In theory if you have a set of lenses that have very smooth bokeh but you wanted a more painterly, 'harsh' bokeh, i.e. similar to a Panavision C series where the out of focus areas seem to have more texture than with other lenses. How would you go about achieving this, is this a simple tweak or an entire redesign? I'm not talking about introducing noise or chromatic aberration.
  24. Looking into renting a set of anamorphic primes for a job. 32, 40, 50, 75, 100 are included but I've been given a choice of 135mm or 180mm to round off the set. I love the hyper stylized extreme separation that long anamorphic lenses produce; that very distorted out of focus BG bokeh feels super cinematic to me. I'm leaning towards the 180mm as I feel the 135 will be not all that different from 100mm but the 180mm has a chance to look very interesting and different. I've never used either lens before so, min. focus issues aside, in real world shooting (scripted interior / exterior) does anyone have any thoughts as to which would be the most useful / interesting?
  25. Actually I just got a Panasonic Lumix S1, matching FOV to anamorphic primes gets very close. Closer than Artemis for example. Thanks for the tips David.
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