Uli Meyer

Shouldn't this say "Arriflex" 416?

I just looked at it on a monitor and you can see a slight shift in the foliage as the dissolve happens (as much as you can tell looking at a Youtube video). In which case it is a straight forward dissolve. Hardly any movement in the background makes that possible.

He fades away as he is over a shadowy part of the background where there isn't much of a light change. I can imagine that they quickly shot a second "clean" pass and then used a blurred junk matte in optical post to cut out the character.

If you are shooting two passes in a landscape and there are moving trees, grass, clouds and the light will change, you can dissolve the character away but you will also dissolve the background into a slightly different one. The Nosferatu example looks like it was done on a controlled set, where you can shoot two identical passes with and without the actor. In a landscape, you could shoot one pass of the background and then one pass of the actor in the same landscape but with a blue screen behind him (depending how big in frame). In post you can cut out the actor and fade off when you like. If the sun moves only slightly between passes, nobody will notice.

Great shots, thank you for sharing. At the end I was expecting a "Good things come to those who..." super and a Guinness logo 😉

If you are not sure how to do this and since you are in Berlin, take your camera to Click and Surr and ask them if they can clean the gate for you. http://clickundsurr.de/en/wir-reparieren-ihre-schaetzchen/

I spoke to a technician at Zeiss in Germany yesterday. The LWZ.1 was developed in partnership with Arri and only Arri was selling the lens. That might explain the price difference since two companies had to profit from the sale of the LWZ.1. When the Zeiss/Arri partnership ended, Zeiss brought out the LWZ.2 on their own, with the only difference being a redesigned back of the lens to allow for different mounts. Everything else is identical. He also mentioned that servicing those lenses will eventually stop at Zeiss. When that will be, I don't know.

Thanks Dom! Arri Rental in London have got one and I will post the results once I have them.

The LWZ1 is the one I am contemplating and since I would only use it in connection with film, I am curious to learn more. If it is superior would that involve mechanics, glass and/or coating? The seller is in Germany but I might try and find one here in London to rent for a day.

I had the Alura at the weekend and shot some footage to test it. The LWZ is in another country and I can’t test it before buying. If there’s no noticeable difference, thats all I need to know. Thank you guys!

If you were offered an Arri/Fujinon Alura 15.5-45/T2.8 and the Arri LWZ1, 15.5-45/T2.6, both in very good condition, for nearly the same price, which one would you go for? This is for analog filming only.

Thank you Satsuki, that is worth a try. This weekend I used my old Miller DS 60 on a Hi-Hat and both fit nicely into the Hamax together with the camera. Restricted to low angles but since I was filming my 6 months old son, not a problem 😉

How is historical context regarding slavery a one-sided opinion?

Not quite. "HBO Max has temporarily removed Gone With The Wind from its streaming library in order to add historical context to the 1939 film long criticized for romanticizing slavery and the Civil War-era American South." Nothing wrong with that.

Thanks Daniel! I was hoping to hear from someone who had tried something similar. I've got to find the right balance of steadiness and compact mobility. Hey Jordan, thank you for your suggestion but the FSB 8 wouldn't work. Even though the 235 is the lightest 35mm camera from Arri, it is still pretty heavy once you've added all the bits and pieces.