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Robin Phillips

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Robin Phillips last won the day on September 15 2019

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About Robin Phillips

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  • Occupation
    Director
  • Location
    Los Angeles / San Francisco
  • My Gear
    Arri SR3 Advanced, Aaton Xtera, Arri 435, Sony F35, BMPCC

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  1. I had this problem when I got mine. IIRC the problem was a damaged prisim inside the viewfinder near the beam splitter. Jorge at Cinematechnic sourced the replacement part and fixed it. you could reach out to him and ask about it. Hes sometimes on this forum too
  2. just a side note, if you didnt measure focus you should get your flange depth checked (or lenses colimated). this seems kinda soft for super16 on an sr3
  3. I do believe all the answers lay here https://en.wikipedia.org/wiki/Citizens_United_v._FEC
  4. Aaton france still has ground glasses, at least as of 2018. thats when I got a 1.85 one from them. Pierre Michoud is the guy to contact over there
  5. this panavision document has equivalent focal lengths https://www.panavision.com/doc/2-perf-explained
  6. My understanding about the price cut for the LWZ.2 + the EF mount was an attempt to reach the new DSLR market, its unclear if any compromises were actually made or if the LWZ.1 was just super heavily marked up and originally targeted at rental houses not individuals. When discussing the differences between the two lenses once, I was told by one service center that if you send in a LWZ.1 thats broken, Zeiss will try to just replace it with a LWZ.2. The story behind the line suddenly ending on Zeiss's end that I heard was that the two specialists who lead building them both went on leave around the same time, and due to a combination of the lens's complexity, lack of training given to anyone to replace them, and the overall cost of the lens being so high vs the forthcoming Compact Zoom line that they simply opted to transition away from it. Mind you, these are the stories I have heard 2nd hand, so its best to talk to ziess directly if there are any servicing concerns. The only quality thing I'd just re-iterate is that I regularly use my LWZ2 for super 16 use with great results. I'd expect the LWZ.1 to be roughly if not exactly the same glass, so test results should be quite excellent.
  7. I have a LWZ.2, and beyond it being insanely sharp (its good for super 16, rivals the U16s in 4k scans) it has the same coatings that will match the Ultra Primes, which I personally love. Some footage I've seen of the Alura's, which are in theory designed to match the ultra primes, always seem just a tad warmer and a smidge more contrasty (I was contemplating getting an Alura 30-80 a while ago and wanted to see how it might match with my LWZ.2, but all my observations are from tests on vimeo and youtube). If it matters to you, the LWZ and LWZ.2 both have to be serviced at Zeiss HQ. I dont know of any shop in the USA that will service them, even for lubrication. My understanding is this is due to the complexity of the lens, which may or may not be one of the reasons Arri collaborated with Fuji on future zooms (maybe someone else here knows?). Now if I was asked if I wanted to keep my LWZ.2 or trade it for an Alura of the same range, I'd keep my LWZ.2. But thats just me and my 2 cents
  8. Hi all, does anyone happen to have the video tap optical elbow for the Arri 435 (without IVS) that they'd be willing to part with? Or possibly an old video tap with this part attached? The name, per the manual, is the "Video Optic V0-2" part number K2.47086.0 thanks!
  9. yup. hell even just a rotary shutter version without the optical viewfinder would be nice, but is probably not to be
  10. we can always hope they do a spinning mirror shutter model
  11. Hi all, random and possibly silly question - does anyone know if its possible to convert a moviecam SL to 2 perf?
  12. maybe reach out to Herman at http://cameramarket.eu/ , every now and then he has one. I got a few of my aaton s16 400' mags from him
  13. this looks kinda LOGy, maybe a bit over exposed too (or transfered with middle grey a smidge to hot)? the quick and dirty way to adjust this is to crank the contrast up. Its 50D so even a stop or two over exposed it should be recoverable if something is wrong. did you shoot a color chart at the head of the roll? If not, I strongly recommend even getting just one of those small foldable color checker charts, as it gives the transfer house a good reference for dialing things in. you can also then bump a hand written note that says "Time to chart" to instruct the transfer artist to dial the colors in to the color chart. Definitely get yourself a program that can do basic color adjustments, that way you wont be waiting on the lab for everything.
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