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Moritz Moessinger

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Everything posted by Moritz Moessinger

  1. I am currently using the AZ Spectrum and think it does an ok job. It feels like the quality difference from the original ARRI VideoTap isn‘t big and you basically safe an analog-digital converter. I am intrigued by the fact that the Visual Products option basically replaces the handle and films off the prism directly. Does anyone have any experience with it and is it worth the hefty invest?
  2. If I am not mistaken, the Evolution lenses aren't rehoused old glas but newly designed glas aimed at matching the look of the old ones.
  3. Is this the extended set 28/40/50/75/100/135 with the 28 and 135 as "Evolution" lenses?
  4. @Adam Frisch FSF Thank you for your response and insight into your way of working. What I take form it is, that it is absolutely normal to miss a few shots and try not to overcomplicate things. I have some experience with remote heads on techno/scorpio cranes etc. and think I have to work on my joystick skills since I am unfortunately not part of the generation who grew up with a Playstation controller there hands 😉
  5. As a commercial DP, I am slowly moving into Car Commercials and I was wondering if any of you had any insight or tips on how to train operating a remote head on a Russian Arm or similar? I know the tracking vehicle comes with a team (precision driver and arm operator) but usually the DP operates the remote head, at least in Europe. Before having to jump on it on a shoot where it means something, I am wondering how to train for it? It could also be a tip how to train to use the joystick etc. Thanks for your help!
  6. I am thinking about selling my ARRI SR3 once I've found a suitable replacement with a 416 or 235 camera. My ARRI SR3 has been maintained meticulously and serviced once a year by a former ARRI technician. I've added the elokuvakonepaja Handle (Alexa mini like) as well as a large side-plate for easy mounting. The Video Tap has been upgraded to a HD digital Tap (old analog ARRI SR3 Tap included) Trigger on the side of the camera including LEMO-Outputs 24V Lemo to 12V D-Tap adapter V-Mount Adapter 3 SR3 Timecode Magazines (good condition) 30/70 Split Prism as well as 100% Prism if used without video tap 3 Handles (analog Tap, optical ellbow for digital tap as well as single viewfinder handle if used as lightweight as possible) various ground glasses (1.33/1.66/1.85) 3 old batteries re-celled in 2019 Charger for original batteries Bridgeplate as well as Dovetale-Plate more accessories. (the picture shows a fully rigged camera but the cork Handle, the red cable clips, terradec, motors etc. are not included) Asking price is 20k EURO but can be talked about, especially if traded in with one of the cameras I am looking for.
  7. Dear Rick, I am interested in the Optex 5,5mm S16 lens and were wondering how much you are asking for.
  8. That is the main reason what keeps me from going the Flanders route or buying something big. I want something handy that fits into my luggage when travelling. I don’t really mind the brightness of the 055 or 058 TVLogics but they are a little bit outdated and not as easy to calibrate as the newer ones. I’ve never worked with an F7 or F5 since rentals seem to be relying on the old ones as well. I think good monitoring is an important topic since it is really hard to get a monitor you can rely on via a rental. I am wondering if it is more important to have something consistent I can get used to no matter if it is 100% spot on or if I should try to get the best color accuracy possible. What do you think? I guess in order to judge the lighting a good contrast is the most important thing or am I wrong?
  9. I‘ve been struggling with rental monitors for several years now (hard to calibrate, bad panels, too bright/too dark) and are finally going to buy myself an monitor to bring to every job. With a wide range of monitors on the market, I am wondering what to best option in the 5-7inch range would be? I‘ve been looking at SmallHD Cine/ or more classical TV-Logic but the reviews are fairly mixed. My main focus is the ability to calibrate the monitor (Color and brightness/contrast) and have a reliably image to look at. It should be decently rugged as well, to withstand the wear and tear of film shoots. Since I primarily work with ARRI cameras, SDI Input/output is all I would need. Thank you for your ideas/thoughts
  10. @Dom Jaegerthank you for the response! I will get in touch with a technician close to me, once he is back from his holidays 😉 it feels like there might be a slight tight spot but since I have never paid that much attention to it when turning the knob, I am not sure if it is a significant change. Since the camera didn't take a hit or was handled inappropriately, I could imagine it either to be a tiny part of film or, as you are saying, something slowly starting to get loose.
  11. After a project last weekend, a more or less rhythmic clicking noise appeared in the front part of my Arri sr3 camera in all speeds (obviously it is slower in 5fps and super fast and loud with 75fps). It appears with and without a mag attached. After some research, I assume a small part of film that ripped of the film might be stuck in the movement and creates that sound. Does anyone know if it is safe to remove the back plate holding the gate. The screws look pretty unused to me and I don't know if there are any tolerances etc. I have to mind when putting it back together.
  12. This sounds interesting. Tragic how hard it is to find fuji stock these days. What price am I looking at per roll?
  13. Hey, I am interested in the 12mm. Could you send me some pictures of the front and back lens? I couldn‘t see on the image if the scale is in ft or m? My mail is: mail@moritzmoessinger.coml
  14. Same goes for me, please send to mail@moritzmoessinger.com
  15. Hey, thank you for the help! You are right, I completely forgot about the fact that a doubler should do the trick (with the perks of loosing light etc.). Since I am aiming for a wide-angle zoom, I will have to test if an extender still gives me enough field of view. Otherwise I will have to search for some Panavision zooms to test.
  16. thank you for the help! do you know if an ARRI WCU4 does the trick as well. I guess if the programmable speed is precise, I should be able to set a min- and max point as well as a slow ramp and just press the zoom knob to the maximum right? Since the time for post is limited, I am concerned if the zooms don't match up completely.
  17. I am currently doing research on available lenses for the Mini LF and can't seem to find any suitable vintage zoom lens, that covers the diameter of the LF Sensor. Does anyone have an idea or already testest vintage zooms on the camera? Thanks for your help!
  18. I am currently prepping for a new project which basically asks for a precise zoom on different locations to be able to seamlessly match-cut in between the shots. Does anyone know if the WCU4 Zoom /Speed is precise enough or is there a better Lens-Control system which is able to do a simple zoom with a set speed that can be triggered remotely? Thank you for your help!
  19. I'm interested in the Zeiss Super Speed 12mm since mine recently got damaged when rented out to a shoot. Please DM if it is still available.
  20. I am interested as well. The item disappeared on eBay and I was wondering if you already sold it! My contact is: mail@moritzmoessinger.com
  21. Hey, I've been looking for a 435 package for some time now and would be interested in seeing some pics as well as a list of the gear included. Are both cameras 4perf or 3perf?
  22. Thanks for your response. As far as I understand the description on the AZ page, they recommend the non IVS option as well, since it is supposed to be flicker free in comparison to the IVS conversion. Luckily, I own the non IVS top and are not sure if the VP has any disadvantage compared to the more expensive AZ camera.
  23. I feel like matters are getting worse with the quality of monitors available from rental companies. Especially when working on short commercial jobs in other countries, it often is a depressing experience to explain to the production to either book a DIT for another day of prep to calibrate all of the monitors or explain to the director/agency/client why the contrast/brightness/colors on their screens differ. In order to solve the problem and be able to rely more on my own screen, I am looking to buy an onboard camera monitor in between 5 and 7 inches which can be calibrated. I feel like more and more DPs bring their own monitoring to the set in order to have one reference everyone can rely on. I've had many people recommend the SmallHD Cine 7 as well as the 703 version. What are your thoughts?
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