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Dominik Bauch

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Everything posted by Dominik Bauch

  1. Trying to find a good PL to PL 2X extender that works with Arri Master Anamorphics. How is the IB/E Optics 2X extender? It's supposed to work with Master Primes, so I assume that it would work with Master Anamorphics? Any experiences with this extender? Is image and build quality good and secure?
  2. Thanks David, really appreciate your insights and advice. Definitely a tough decision...
  3. Thanks for the insight David. So you would go 40, 50, 75, 100? Would the fact that it's a Master Anamorphic set change your mind about the 35mm? I would be a little worried that there isn't much difference between the 40 & 50 given the high price of the lenses. Have you ever used extenders on anamorphic lenses?
  4. All Great questions. It really varies and I definitely want to be prepared for the future as well. So, while I might not be in large fully controlled spaces now, I can't predict how next year will look etc. As for handheld / tripod, I would say it's an even split. Probably will be a little more on sticks with anamorpjhics stylistically speaking, depending on what I'm shooting obviously.
  5. In a set of 4 anamorphic lenses, in addition to 35, 50, 75. Which is generally the most useful 4th lens - a 100 or 135? Obviously totally depends on the situation etc. spherically I tend to like longer focal lengths but I don't have a huge amount of anamorphic experience. i.e. in general would a 100mm will be more useful than a 135....? Also do extenders play well with anamorphic lenses? I have a 2X Angenieux Optimo extender, wondering if that will help if the flange distance works out.
  6. Good to know, thanks. And here I was being nervous with a 30-76 Optimo zoom... How did you like the Cooke Anamorphics. I've seen tests with a decent amount of purple fringing in the highlights wide open?
  7. Thanks for all the feedback. Definitely a tough one, there really isn't a no brainer out there. Of course different projects call for different looks but in an ideal world there would be a modern anamorphic lens that is under 5lb and retains classic anamorphic characteristics without costing insane money. Absolutely planning on testing thoroughly. I'm just trying to figure out if Master Anamorphics are desirable enough to be a selling point to own a set. Sharegrids Anamorphic lens test is super useful to start with. I just wish they had been able to use some Panavision anamorphic glass as a comparison. Crazily Kowas are close to $100k anyway, so I don't think that Master Anamorphics are that ludicrous considering the benefits. if only Cooke anamorphic weren't so heavy.... Assume that Master Anamorphics can be used without a lens support on an Alexa Mini? Obviously 100+ will need one.
  8. I'm looking into Anamorphic glass and would ideally like to go modern. I've shot with Kowas and didn't love them. Flare is ok in my opinion and the distortion is pretty extreme in areas. Anyone have real world experience with the Arri Master Anamorphics? Sure they are clean but technically it's not tough to add some vignetting and light edge blur in post to mimic older lens artifacts. They are supposed to be more gentle look-wise than Master Primes and some amazing stuff has been shot with those. I love the relatively light weight, low T-stop and the fact that every part of the frame is in play but I'm just concerned about the supposed clinical nature of the image... Are these in high demand and is the resale price high? i.e. are these a good investment? I would love to look into Hawk V-Lites but they are aggressively rental only... The size and weight are awesome plus the look is more classic. Cooke Anamorphic i SF seem amazing but the weight is a real issue. Ideally I'm trying to still be in gimbal weight territory. Any thoughts or advice much appreciated.
  9. I always like the look of these spots, very cinematic. Anyone know the tech specs, camera and lenses? I would guess panavision anamorphics?
  10. Sorry if this is the wrong forum for this... Was wondering if anyone here can recommend a solid gaffer in Frankfurt Germany. Also need a gaffer in Boston. Thanks! Dominik
  11. Have filming coming up and plan to use DF50 for some light atmosphere. Im filming in a medium sized open plan office and a number of smaller rooms. Anyone have good tips on how to get a nice consistent base? Once thats in the pocket, typically how long before having to add more haze to keep consistency? Really want to avoid moving haze or indoor fog look. Haze is done so well on many episodic shows, hoping some veterans can tell me what the haze workflow looks like pre rolling camera. Many thanks in advance, any help or tips greatly appreciated.
  12. Just wanted to get some feedback from people who use these regularly. I am interested in getting the Angenieux 2x extender for my Optimo Styles. Obviously 2 stops of light loss is the main Con, but if I were to compare an Optimo Style at 76mm with a 2x extender, T5.6 (Effectively now 152mm), with a 150mm zoom or prime, also at T5.6, would both images have similar depth of field / AOV? Any other major downsides? In daylight situations I regularly use a .6ND on a mini anyway so the 2 stops of lightloss isn't a big deal vs the flexibility of having a decent long lens option without the footprint... Also if it softens the image a touch, that could be a bonus in some situations. How noticeable, if at all, is the softening? Thanks in advance for any advice or experiences.
  13. Say what you want about Cloverfield paradox story but it undeniably looks awesome. Great, great looking movie, love his lighting style. Great art direction and set design too. Super inspirational work. Force awakens was crazy good too, the scene with the storm troopers in the drop ship at the beginning, insanely cool...
  14. Hi, Wondering what methods people here have found to get 'sourceless' undertones into the shadows of an indoor scene. i.e injecting some cyan or steel green into the shadows. Trying to avoid any hint of cast shadow / source-y or too much additional fill on subject. Interested to see what techniques others are using to achieve this successfully.
  15. So true, it's all just a taste thing. Just interested in whether I'm an outlier in not being particularly into the heavy diffusion look. No offense intended, I would consider my work life a success with less than 1/10th of Janusz's credits...
  16. Look, anyone who has shot tons of movies with arguably one of the greatest directors / storytellers of our time is obviously supremely talented but.... I've been re- watching a bunch of Spielberg movies recently and all of his 'recent' efforts in my mind are marred by egregious diffusion / blown out, glowing highlights. I just don't get it, the whole netting the lens really looks so over the top and flat to me. Film looks great as is... Minority Report, AI, Bridge of spies, Indy 4 (By far the worst culprit.) to name a few. There's insane art direction, set design that just gets nuked with huge soft blobs of diffusion. Occasionally there's a close up without a hot light source in frame where the diffusion looks great on skin but as soon as something hot creeps in frame... Am I missing something? I'm not against diffusion filters; I love an 1/8 Hollywood black magic for example but the lens net look is just too much for my taste.
  17. Thanks for the replies. Adrian, so the look I'm going for won't work well if the camera set at 3200K and using the steel green gel on a tungsen fixture? So the gel needs that extra HMI coolness to really get the look?
  18. For Rosco Steel Green gel, what color temp is the gel designed to work with to produce the classic Steel Green look? i.e. are they designed to work with tungsten fixtures or HMI? Take any of the Maze Runner movies or Gotham season 4. There's a lot of really nice steel green undertones. Are they gelling Tungten or HMI lights to get that look? Totally get that camera color temp is a huge factor but lets assume that camera is set at 3200K.
  19. Just bummed it took me so long to switch over. Awesome how all that matters is your eye, the lens and the film stock.
  20. True, true. Just switched over to 35mm stills camera. Couldn't stand the Canon digital stills image of my 5D...
  21. Totally agree r.e. lighting and composition. I just mean that I've been impressed with the color and contrast of the image I've been getting out of the zooms. Wider aperture is nice for sure but most of the time, unless I'm using MP's or Summilux, the primes are around a T2, so I'm a stop slower with the Angies, which I can partially offset by raising the iso half a stop. Then there's not much difference other than the slightly shallower DOF I would get at a T2, and the closer minimum focus...
  22. I've used Angenieux Optimo Style Zooms on the past 3 projects and other than the amazing flexibility I've found the image to be very nice. I'll probably get crucified for saying this but I honestly prefer what I've been seeing out of these image wise than many prime sets I've used; Cooke S4i, Leica Summicron C, Ultra primes, Speed Panchros etc... Obviously speed is an issue at T2.8 but wide open I've had less issues with purple fringing etc than S4i's... Cinematic image is most important for me, definitely trumps practicality but other than losing a stop and being slightly heavier than a prime lens; any aesthetic reasons why these are inferior to a good Prime lens? I'm really tempted to get a couple of these as for the money, I could barely by 2 good prime lenses, plus I gain the tremendous practicality and speed that these offer but I want to make sure I'm not missing something....
  23. I'm guessing that someday Arri will update the Alexa ALEVIII sensor, Arri must be sick of the resolution technicality that makes Alexa exempt from Amazon and Netflix original content... So if, purely to hit 'true' 4K, Arri release a new sensor, any thoughts on whether it will for sure be S35 or a kind of in between S35 and VV? I'm guessing that there will always have to be 2 distinct sensor sizes due the the massive amount of S35 glass out there. Reason I'm wondering all this is I'm interested in a couple of Optimo style zooms but they scare me a little as they vignette pretty badly on Alexa OG, so if a new sensor is any bigger, they will make very expensive paper weights....
  24. Just had a serene arm installed on my easyrig (no gimbal). Kind of a little underwhelmed with result to be honest. I hear great things... Maybe I was expecting too much, I was hoping to be able to achieve a more stable result than a naked shoulder mounted rig. Anyone have tips on how to get best result?
  25. I'm looking for a creative gaffer, ideally with narrative experience. Any recommendations would be appreciated. Thanks in advance!
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