panagiotis agapitou

I'm going to shoot a gig and as you see on the youtube printscreens from this place the stage is poorly lighted. As my work would be only for social media and not for broadcast use i decided to go with an EXTREMELY high ISO to make my videos appear MUCH MUCH brighter and with a kind of "artistic" and "dreamy" effect. The singer would stay betweeen the two "light pillars" as in the photo and the extreme high ISO would make the "pillars" shine like bulbs They say that Sony A7s iii it's ideal for this kind of low light enviroments, and as i wanted a big flexibility on the folcal lengths i decided to compine with very long zoom lenses as the Sony FE 70-200 f/2.8 GM OSS I was thinking also for a pro mist filter but i just read that the pro mist effect VARIES on different focal lengths .. and as i'm going to use three A7s iii with three 70-200 i'm afraid of a noticable dis-continuity between the shots ... what do you think ?? Does this rule also applies for the glimmerglass ?? Thank you very much !!! And if you have ANY other ideas about the shooting of this gig please let me know :) :) :)

It's not a blue/green screen test .. but is very interesting

I found this test online ... except from the super organic grain the way it handles the highlights is amazing

And this one Rank Cintel Millenium II https://www.reelone.fi/en/index.html

This one has has Cintel DSC & C -Reality https://www.yalefilmandvideo.com/transfers.php

But as Tyler said it's now CMOS and LED ... only the chassis is the same

Your mucking suggestion is very hopeful .. i'll have to experiment with this Then the Spirit looks to be the best available option

Is this one ok ? https://youtu.be/aT81llm_0Fw

Can you post some frames ?

First of all congratulation for your really great advices !! Can you suggest me some post houses with CRT telecines ? Also what is the maximum resolution you can get from a CRT telecine ? Thank you very very much !!!!

Sorry .. i didn't express my question the right way and i confuse you ? I don't mean the look of Terminator i mean the look of the Duclos video

I was suprised by this "neon noire" Terminator's style image of the Duclos 2X rear anamorphic .. and i'm trying to figure out the mechanism behind this effect and how to achieve it without any anamorphic convertion (Btw all the shots appears to be with naturall light .. and if you consider that they used an Angenieux 25-250 HR wide open plus the one stop loss by the the anamorphic element .. it seems amazing that they achive this high quality exposure)

I'm a bit confused .. i thought the first Angenieux 25-250 was meassured as T3.9 and now i see a T4.1 meassure on this rental ... Any ideas what's going on ?

(May he used again the kinoptic 9.8mm on full metal jacket .. i don't know .. i just haven't found a shot that looks like 9.8) But on EWS larry smith said the wider they used was the 18mm

Very old topic but let's update it The last movie he used Angenieux zoom lenses was Barry Lyndon .. after that only the Cooke 20-100mm (there is a possibility that may he used them again on Full metal jacket) THE SHINING : -Kinoptic tegea 9.8mm -Angenieux 14.5mm -18mm Cook panchro (zeiss super speeds 18mm was not released yet) -25-35-50-85mm Zeiss Super Speeds T1.4 (b speeds) -Zeiss Standard Speeds -Cooke varotal 20-100mm T3.1 FULL METAL JACKET : -Angenieux 14.5mm - Zeiss super speeds T1.4 (b speeds) - Zeiss standard speeds - Cooke varotal 20-100mm T3.1 - Lots of Nikon's stills converted - tilts & shifts EYES WIDE SHUT : - Zeiss super speeds mkiii T1.3 - Zeiss Variable Primes T2.1 - Cooke varotal 20-100mm T3.1