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Roman Alaivi

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About Roman Alaivi

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  • Occupation
    Cinematographer
  • Location
    Salt Lake City
  1. Yeah, this information actually came from American Cinematographer, it's a good read. The pilot was shot by Alan Caso though on film, just trying to figure that one out.
  2. Hi Omar, you can indeed shoot Anamorphic on the original Alexa Classic 16 x 9, without having the newer 4:3 sensor crop of the later models. Is it ideal? Nah... much better options at this point, however you can upgrade your Alexa Classic to do the 1.5x and 2x de-squeeze for the optical viewfinder and via mon-out. In 2.8K the results are not bad at all but these days, chopping up a 2.8K image is not ideal. The ARRI Raw licence will naturally be included inside the Odyssey 7Q when you upgrade to the Raw + package, which has not only the ARRI Raw licence, but a number of others as well. If you do get the Classic EV 16 x 9, you can certainly monitor the desqueeze with the paid ($500) upgrade but the 7Q might... do that for you. I prefer to always use the EVF however you might at least be able to just get a basic idea using the 7Q.
  3. I've started watching The Americans for the first time today and I had already read about the show previously in American Cinematographer. I know the show has generally employed the Alexa throughout. As I was watching the Pilot I was blown away by how filmic it looked. I'm an Alexa owner myself, shooting on it quite frequently and have never seen something that film like, ever from the camera. Turns out, that was just the pilot and the rest of the show looked as one might expect with the Alexa. Just wondering if anyone knows what glass was used for the Pilot? I'm also not quite sure about the format either, almost looked like S16 in some parts but 35mm in others.
  4. I'm in the process of placing an order with an Astera distributor for a new set of 8 Titan tubes, but.. this would be split between me and my partner. The cost of 8 * AX-1 tubes with a charging case, and the wireless DMX module is pretty close to what half of the same kit costs with the Titans. I'm wondering, would 4 Titan tubes (this is what I'd usually have unless a prior arrangement was made) with a noticeable increase in output / brightness be better than owning 8 of the AX-1s? I primarily shoot narrative / scripted shorts and once in a while a tiny feature. I love my Quasar that I currently have but I'm trying to reason what's the better purchase here. Are there enough advantages to the Titan tubes to go with 4 tubes at any given moment rather than 8 noticeably less powerful tubes?
  5. I've swapped out the PL mount to EF with the Leitax Canon Solid mount quite a number of times. Never had an issue and it's nice to have access to manual EF glass when needed in a pinch.
  6. Thanks Adrian, I follow you there, and yeah I'll be that exact test. Appreciate it!
  7. Thank you David! I'll be doing some tests just like that with a variety of gel options. What do you think about using a camera filter of some kind? This is the one time I might consider using a colored filter to get an effect like this. Thanks Mark, Are you saying that you'd let it go underexposed ? I see the logic in trying to maintain contrast, but you don't think the red will play very well exposing for it?
  8. Hi gents, I'm wondering what the best approach might be to getting a nicely saturated red look. The scene will be in an underground bunker, in which "red" emergency lights will flip on and everything will be that one tone. Previously, I have only used red gels like Lee 789 to create strong saturated reds for a background, and it's looked amazing. For talent and main action that I'm focusing on in the foreground saturated red gels seem to introduce so many artifacts (softness / extreme loss of detail etc). I'm wondering... how exactly are most shots lit when everything is red and not just a background effect? Is it mostly something found in the grade and helped by using in camera filters? Would lighting everything in magenta give me more to work with in post for sharpness / detail while still being easy enough to make full red in the grade? Since the red in this scene does not need to contrast against any other illumination or color, I would imagine you could even get a decent look with just white light and doing everything in the grade? Thanks for any ideas!
  9. Hi guys, I'm not 100% sure, but I think my Arri Alexa EV classic has the de-squeeze license installed. This is what my menu looks like: http://blog.abelcine.com/2011/08/10/alexas-anamorphic-de-squeeze-explained-2/ If the menu gives me the EVF monitoring options for 1.3x and 2x, does that actually mean that the license is installed? The other week, I put on some Hawk Anamorphic 2x glass, and could not implement the de-squeeze. It simply remained squeezed in the EVF when I selected 2x or 1.3x. By chance, if I don't actually have the license installed, how much would it cost? Thanks!!
  10. Hi guys, I'm not 100% sure, but I think my Arri Alexa EV classic has the de-squeeze license installed. This is what my menu looks like: http://blog.abelcine.com/2011/08/10/alexas-anamorphic-de-squeeze-explained-2/ If the menu gives me the EVF monitoring options for 1.3x and 2x, does that actually mean that the license is installed? The other week, I put on some Hawk Anamorphic 2x glass, and could not implement the de-squeeze. It simply remained squeezed in the EVF when I selected 2x or 1.3x. By chance, if I don't actually have the license installed, how much would it cost? Thanks!!
  11. Well, I didn't actually buy the camera, it's only graciously being lent to my production for a decent period of time. But I'm happy to spend money where needed. Outside of the leveler, is the only thing I need, the VMB-2 or 3? No other parts etc ? Thanks for the help btw!
  12. I recently acquired an Alexa EV Classic body with the EVF for a film I will be shooting in the Spring. I would love to know what I might need, specifically what adapter / bracket I need to get the EVF connected. Here is a picture of what I have currently: https://goo.gl/photos/94bihX64xhAgYHx69 https://goo.gl/photos/ZQo616pKRALuKT7w5 From what I could find, the normal EVF mounting bracket is a VMB-3 like shown here: https://www.abelcine.com/store/Arri-ALEXA-VMB-3-Viewfinder-Mounting-Bracket/ I'm just wondering with what I have right now, what bracket could I use to connect the arm as is? 3rd party solutions / ideas welcome as well. Thank you very much for any suggestions!
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