Vladimir Cazacu

Send them back and get something better.

Quasars are insanely expensive in Europe though. I've been looking into it as well but other than the Yuji tubes (which are not as bright, almost always out of stock and not bicolor) there really isn't anything that has a high CRI and is dimmable. Sylvania, Philips, Osram and all of the major players have led tube products (some with CRI 95+) but none of them are dimmable unfortunately.

Looks like Arri just announced a new camera at the BSC expo that should cover Netflix's broadcast requirements. Taken from 4kshooters.net Large Format 4K ALEVIII Sensor (from the ALEXA family) Compatible with Full-Frame LensesNew ARRI Signature Primes at T1.8 (mostly) Sensor is slightly bigger than 35mm full-frame Familiar ALEXA SXT family body design 4K ProRes recording options ARRIRAW at 150fps SxS or SXR Capture Drives depending on configuration Netflix/Amazon and other UHD/4K deliverables compliant New LPL mount for large format lenses Compatible with S35 lenses Wi-Fi enabled Basic pricing starts at €74,000 Available in March 2018

Beautiful work, Miguel! Your framing, lighting and lens choices really give it a unique look and atmosphere. Quite melancholic and representative of the feelings one might get while being out in the countryside. Very fitting for the piece.

Can you please post a photo of what you want to achieve? It sounds to me like haze + a Source 4 Leko or Joker Bug would do the trick. Here are a few stills that showcase this technique (not my work): https://imgur.com/a/cpYKV

There are B4 1.4x / 2x extenders out there that can be used to cover the whole sensor with a light loss of 1 and 2 stops respectively.

Please do tell us what's inside of the Quasar, Jaron.

The Aputure 120d/300d COB lights have a fresnel attachment that is quite good and led lights like the Rayzr 7 are designed from the ground up with a fresnel lens. The Rayzr is allso daylight balanced and it puts out more light than an ARRI 575W HMI while also drawing way less power. All of the above are also CRI / TLCI 98+ The new generation of led lights seems to finally be good enough to replace traditional fixtures. Quasar tubes in place of fluorescent tubes, high powered daylight balanced LED lights to replace 650w-1000w ARRI's etc. It's going to take a while but it seems inevitable at this point. The only thing that remains to be seen is the quality / longevity / serviceability of these lights. edit: seems like me and Seth posted at the same time.

Glad to hear it worked out.

I forgot to say that I do not think that these two videos showcase how close you can get to s16 with the Ursa, just what the camera looks like in 2k mode with s16 glass out of the box.

The Ursa Mini 4.6k Pro in 2k or HD window mode is the closest to s16 I've seen so far. The rolling shutter goes down to 6.32ms so it's imperceptible, you can use 16mm and s16 glass without vignetting like on the BMPCC because the 2K window is: 11.26 x 6.33 - Crop 3.19x, the dynamic range and the color science is beyond what the little pocket camera could put out, you can overcrank to 120fps, good ergonomics, V-Mount batteries, SSD recording etc. It's a gorgeous tool for emulating S16.

A small softbox (under 1 meter) with a narrow angle honeycomb grid (to keep the light off of the background as much as possible) and an Aputure 100D, would also be a very cheap rental and more than enough to get you that look. Place the light as Miguel described, get the fill side of the face to be 2-3 stops under key and the background to 1-2 under and you should be set.

Thanks. How are you finding the Depron so far? I've somehow never heard about it until now.

Miguel, if you don't mind me asking: how much light loss is there from this 3mm Depron material?

Cheers, guys.

Yup. If a 40mm spherical gives me roughly a FOV of 35 degrees when shooting 4.6k open gate, does shooting a 40mm anamorphic give me the FOV of a 30mm speherical (46 degrees) due to the sensor windowing?

Thank you very much for taking the time to answer me, Mr. Mullen. Your posts here and on other forums have been of great educational value to say the least, and your enthusiasm for the craft has surely rubbed off on me. That being said, is my approach in figuring out the FOV difference between the 16:9 open gate and the 6:5 / 2.40 desqueeze correct?

DIY hazer...

So, I'm trying to figure out what FOV I'd be getting on the Ursa Mini 4.6k Pro when shooting 3k anamorphic, as opposed to 4.6k spherical but I'm having a bit of a hard time trying to wrap my head around it all. 25.34mm x 14.25mm 4608 x 2592 4.6k - spherical - 1.77 16.89mm x 14.06mm 3072 x 2560 3k - anamorphic - 1.20 BMD doesn't list the sensor window size in mm when cropping in to the "3k" 6:5 anamorphic mode but based on the resolution chart that they provide and on the listed full sensor size, if my math holds up (I calculated that 1.5x is the difference between 3072 and 4608 and used it to scale down the sensor size), that would mean that there is a 1.5x magnification/crop factor difference between the two modes, right? So for example: when using 2x anamorphics, where one would traditionally get something close to the FOV of a 20mm spherical when shooting with a 40mm anamorphic lens on S35, on the Ursa you'd be getting the FOV of a 30mm spherical due to the smaller sensor readout (20 x 1.5 = 30mm) when compared to the 16:9 - 4.6k open gate (shooting spherical), right? Does this make any sense at all or is it a flaming mess? Cheers.

If it works, it works. Any shots of the results?

I realize now that my comment is in rather poor taste and that I might have phrased it a tad bit too seriously. It was meant to be taken as a light little joke, so I do feel the need to apologise for that. I have the utmost respect for Gregory Irwin, Michael Green (focus puller on Murder on the Orient Express) and for any other 1st AC's that would have the stones to take on such a challenging job, as pulling focus at a T/2 on Medium Format is an almost impossible task (which is what I was hinting at).

Do we need to talk about Interstellar, Murder on the Orient Express and any other film recently shot on 70mm / Imax then? We can all dream and look forward to the day where our light-field equipped cameras will be able to be refocused in post, and where the editor/director will choose to butcher our work further :D as is the current trend of reframing in post.

Tell me about it. The 4' Crossfade 120VAC costs - 275$ in the US The 4' Crossfade 220VAC costs - 466$ in Europe

Considering how ridiculously expensive they are to buy in Europe, I was thinking of the same thing: buying the US version and an inverter + v-mount or a 220v to 110v step down for inside use. My only concern would be regarding flicker (step down would still be running at 50hz) and cheap car inverters might be PWM based.