Uli Meyer

A couple more screen grabs of footage shot with 500T in daylight.

When I visited Georg Bogner in Munich a month ago, he had just finished converting an SR to Super 16. He is not expensive either, well worth doing. He's one of the finest Arri technicians not at Arri when it comes to analog cameras. Georg is the inventor of the "180degree mirror method" http://www.cameraservice-bogner.de/album_5-2-3_004.htm

I remember a Penelope for sale from one seller for £20k in 2017 when Arricam Lts 3perf packages from the same seller were on offer for £8k. Astounding how much prices have shot up in the last five years.

Hi Heikki, thank you kindly for checking! Much appreciated.

I'm looking for a long-shaped bulb that goes into the start marker lamp. Have you seen anything like that in your treasure trove?

500T at dawn shot without any filter. These are very quick basic grades done in Premiere without going into colour specifics. I like the slightly unreal colours that you get when shooting Tungsten in daylight.

Maybe because of my background in animation I have the complete opposite view. In animation you create your film as a storyboard and work on it until it works as a story, the characters are defined and the visual language is solid. You don't start the process until you are certain that it all works because it is way too expensive to keep re-doing stuff. Wes Anderson now makes animatics of his movies before shooting because of his experience working with animators on 'Fantastic Mr. Fox'. I plan my Live Action projects the same way and it gives me a sense of security, knowing that what I have planned will get a working result. A good storyboard reduces the need for shooting coverage but I want to stress that it doesn't mean you shouldn't. Especially if you have just saved time on set, knowing that you have got what you need, you can use that time to add spontaneous ideas, cut-aways etc. How does that happen? Isn't that the first thing you do when you make a narrative film? The directors you mention won't be in the business for long if they are just winging it. I've worked on big budget movies where the script was appalling to start with and I could never understand why they were greenlit. Storyboards did help in those cases to improve matters.

Aapo, it is quite the opposite. A precise storyboard helps save cost and time. I've frequently come in under budget and time because everything was meticulously planned. Very useful when you do NOT have a big budget. you wouldn't start your storyboard without a final script. It sounds like the directors you work with are all inexperienced kids with whacky ideas. A storyboard is not a wish list of impossible tasks but a precise plan that helps keeping costs down. Btw. being experienced doesn't mean you always have unlimited resources and I'm not certain why you think storyboarding and big budgets go hand in hand.

My background is in commercials, same as Justin's, although most likely a few years further in the past. My specialty was combining Live Action with Animation and we would have many meetings with ad agencies, discussing storyboards, revising storyboards, creating animatics, revising animatics , before a DP would get involved, usually not until just a few days before the shoot. The DP would be in charge of lighting and creating the desired look. I would always pick the shot angles, compositions and camera moves and would discuss focal lengths with the DP. The DPs I worked with were quite happy with that arrangement. My favorite DP was mostly interested in lighting and film stocks and would never touch or operate a camera. When making a narrative film, I storyboard the entire script and edit the boards to a scratch track of the dialogue. Figuring out the film language to support the narrative is for me an essential part of filmmaking. There are lots of different ways you can tell the same story visually and some directors are happy to share that responsibility with the DP. Others have a clear vision of what exactly they want to achieve. There is always room for improvement and it would be counter-productive to dismiss good ideas on the actual set but I usually stick to my plan.

Arriflex 416 is a German camera ?

Maybe they are much further down the line than you are assuming? Or do you have information to the contrary?

Got a reply from Tommy and they expect the price for the Super 16 to be at around 25000 Euro and the Super 8 at around 4500 Euro. Those are attractive prices for professional users.

No increase in the UK yet. But 35mm has sold out!

You can avoid shooting too much coverage by storyboarding your film and edit your board to a scratch track of the dialogue, essentially making your film before you shoot any footage. This means making decisions upfront but knowing what you want, will save a lot of time and film stock.

Amazing. There’s one lens with a 50k price tag which in the 1960s was the equivalent of $450000. ?

Pav, the 416 is a pretty amazing camera for any professional ?

Quick google

Got it, thank you David!

From the Logmar owner's statement: the “Rockhopper S16” being a professional Super 16mm camera and “Gentoo S8” a Super 8mm camera aimed towards “prosumers” such as wedding- and music-photographers and rental houses etc. These two new platforms are still in the design phase pending pre-sales before they will be committed to manufacturing. It says to contact them for more info but I could not find an email address.

Most commercials have a lot of cuts. Not sure what you mean.

It is possible that the ochre and blue colour palette somehow makes it look less "film" too since you see this choice in many digital projects.

Prices are definitely going up. I sold a complete Arriflex 416 package with all the accessories you can think of and eight magazines for £11k only three years ago. Today I've seen 416 packages with two mags and fewer accessories with a £60k plus asking price. ?

Shooting on 16mm will give you a somewhat dated look, no matter what lens you use. Happy to be proven wrong but if you are after a “modern” sharp look, digital seems a better choice.

Recently I bought a single Zeiss Distagon T1.3 12mm MkI lens Arri B-mount from Cameramarket in the Netherlands. Herman might have single PL mounts available.

You'll be much happier with the result if you use high quality lenses. Dom's suggestions are what I would go for. It really makes a huge difference. Since you are spending money on film stock, I wouldn't skimp on the glass.