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Carl Nenzen Loven

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    204
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About Carl Nenzen Loven

  • Rank

  • Birthday 04/01/1988

Profile Information

  • Occupation
    1st Assistant Camera
  • Location
    Los Angeles
  • My Gear
    Sony A7s, Kipon Bayves Hasselblad to e-mount
  • Specialties
    DP, and focus puller.

Recent Profile Visitors

7774 profile views
  1. First things first. I can’t speak about other cameras, but Les has ZERO customer service, and QC. He supposedly converted my previous ACL to a super 16, but did not alter the timing, nor adjust the shutter (which Bernie at Super 16 inc said is a minimum). When I sent it back to him, on my dime, from California, he didn’t fix it, just shipped it back, said it was ok, and stopped replying to emails. Horrible treatment and would never advice anyone to send their gear there. as for you going anamorphic. You have a lot of options because it is c-mount. I tried it with the Panasonic adapter on front and it sort of worked. My lens had a spinning front element so it looked a bit weird, but I made it work. A friend of mine tried the SLR magic route, but regardless, there are a lot of options out there with front mounted elements. I would probably see if I could mount a front mount to a set of Veydra primes and go from there...
  2. Sorry should have added that. Arri-B C
  3. I know this is probably not the right time to sell this but since I sold my Eclair this have been collecting dust. She looks a bit worn, and front element has a little nick, but last footage I saw from this still looked great. This is a R16 lens. Also included is an adapter from RAF camera to use screw in 77mm filter. (I had an anamorphic adapter on the front element before) I looked online and tried to figure out the average price and saw a lot of different prices. So it’s $450 OBO really. Buyer pays shipping.
  4. Agreed. But then again, same as before pseudo discussion. Arguing why you want film is a decision for producer to pay, arguing why you want anamorphic is for producer to pay...etc etc. I do understand this. But I think I rather just step off here. You have proven your point, and yet again no one knows the result, so when this is all over I will trek to a rental house to test this out. Maybe I am completely bonkers and have no idea what I am doing, or maybe it will look great. We shall see. C
  5. Right...but also isn't that what this medium all about as well. Even if it might be better to shoot on cooke anamorphic, and alexa mini, some people still tend to prefer the Kowas on a RED Epic. There are so many reason why anyone would like to do something regardless of their reasoning behind it. And personally if I like the image straight out the camera a lot more than a 4k pocket, and I have access to an F3 for a better price (even with the mentioned upscaler), would it be wrong for me to try? But also, I do agree, best to do is testing, hence why I sort of left the thread be, because going to a rental house and see will be the only way for me to figure out if it is worth it or not. I mean that goes without saying. If I get it to work on the F3 and then later apply it to the F35 when I can afford that, that was the thought. Yeah, hence why I am wondering if it happens in the acquisition if there is any gain, before the file is actually compressed. I am going to do test myself when the C-19 is over probably, but from what I am understanding here is that no one that has posted has used this hardware before, so frankly does not know, and that I am advised not to do this. C
  6. As mentioned before...I appreciate the input but it is a pseudo discussion. You could even debate if you effectively actually get 4k from the S16, or rather a 2.5k upscaled, but that isn't the discussion. My goal would probably be to test it on a F35 and F3 just to see what the result is. If the overall file and result is still sharper and better than a DSLR 4k, I might do it for my own projects still. C
  7. This is turning into a pseudo-discussion...I never brought up the client aspect. Just curious to know if there is a way to make the F3 footage 4K in the recording process. I probably would never purposely lie to client about this, and honestly that still doesn't matter here for the discussion still. But thank you for your valuable input, and I will take your moral advise in consideration as well. C
  8. Good point....probably be bankrupt by June... C
  9. I hear you...but moral isn't really the discussion right here, right now. And as I clearly stated at the top. I know there are other cameras out there that does 4k, and everything that I have mentioned here. I was curious if there was actual was a way to do it in the pipeline. For example, if it does work I can use the same rig for a F35 as well if that becomes the next step. I already have the recorder, storage, and a sweet deal for a F3. So for me the biggest investment and hurdle would be to power the converter from P-tap possibly. C
  10. Right...but if F3 upscaled to 4k in 422 looks better than DSLR 4k in 8-bit...and the client is hiring has no knowledge about this, I wouldn't say it matters? C
  11. What typo? It says made in the original post 🙂 C
  12. Last I checked the ProRes from the F3 does not take up that much space, and if I am not the one doing the edit or anything in post and the client demands 4K, that's where I am thinking of.I know 4k isn't always needed either.C
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