Luka Stojcic

Thanks Joshua. So if I I wanted to use, say, a polarizing filter (I'm using this lens on my DVW-970 Betacam) would I have to buy a square filter and a clip on matte box, something like this in tandem with this adapter? Or could I just buy a replacement square rubber lens hood and attach a circular, screw-on filter to the thread on the hood? This sheet I found seems to indicate that's possible: https://www.fujifilm.co.th/globalassets/products/optical_devices/pdf/tv/accessory/tv_filter.pdf

Hoping some of you broadcast/ENG veterans can help me with this—I have a Fujinon 4.8-48mm (A10x4.8BDERM-M28) but I lost the lens cap and hood, and am looking to find a replacement cap/hood. I cannot figure out though what size, diameter, or model of cap/hood to buy for this lens, and it's kind of driving me up a wall. If you guys could point me in the right direction, I would be very grateful. (Here's an eBay listing—not my listing—of this model with some pictures of it for reference)

Autumn Sonata, though anything from Bergman is a masterclass in austere blocking. Theatrical maybe, but undoubtedly effective. Also would be remiss not to mention Woody Allen—Husbands and Wives has some of the most intricate yet fluid blocking I've ever seen

No kidding! I stand corrected, thanks David. Good to know there's something I can do on that front. And I've been looking for that 24p board a while now. Ebay seller said the camera came with it; it didn't (of course). If anyone, perchance, has a lead, feel free to let me know!

Robin, it's cool to hear you actually shot with the camera! It seems to be forgotten these days, even by the people who made it; I took it in to Sony LA and I got the impression they had absolutely no idea what they were looking at. I know it's an old camera but it's not that old! Still trying to get the 24p board for it. Yes, this star filter is quite baffling—I'm sure it has its uses (maybe?) but I'm coming from a DSLR so I'm still in the process of learning all of the Betacam's settings. I wonder why that effect was so prominent in Japan... how odd. The DVW-970 is a lovely thing to shoot with, though I'm kicking myself a little bit since I can see jaggies in the footage; I probably should've got the PAL version, I'd assume the increased resolution would sort of take care of those. I love the DV look but I can't stand the jaggies. Ah well. Live and learn!

Gotcha. Thanks David.

Hi all, Please forgive my ignorance on this topic, I feel quite silly asking this—I've finally gotten a VTR to transfer footage from my DVW-970 into a Decklink Mini and get uncompressed 10-bit 4:2:2. I like the look of the footage a lot, but I'm confused about these flares that totally take over the scene: https://ibb.co/KLd9hPm Would the solution be a lens hood? Or a filter of some sort? I'm assuming there's no way to get rid of this after the fact, but I would appreciate any insight as to how to eliminate these going forward. Thanks

Thanks for chiming in guys. Of course, you're right Mark, it's a terrific camera and it's genuinely shocking how cheap it can be got for these days. Aapo: I suppose it would make more sense to get one of those "4k" cameras everybody's always talking about since I would like to start doing freelance work, maybe weddings or music videos. Somehow I doubt the rap artists and newlyweds are clamoring for the uncompromising HD deep focus look. The One MX does look intriguing. The deals I've found don't look to be quite as enticing as the one you've described—most packages I've seen are around 4-5k with the evf and display and drives etc. Might wait around for something less expensive; would certainly attract more clients if I have a Red (a decade old one maybe, but they don't have to know that) than a Blackmagic or something. How's the rolling shutter on the One MX? I know RS isn't the end of the world but if you pan fast enough those skewed lines do start to look vaguely apocalyptic

Hey all, There's an F23 package going on eBay for $5700— https://ebay.to/2XxixHz Really intrigued by the offering though it seems quite steep for such an old camera, especially because it doesn't include the SRW-1. It has relatively low hours and comes with the HDVF-C35 which is great, but still. There's even an F35 package on there that comes with everything (viewfinder, if box) and also the SRW-1 and that's going for $4500. Curious what you guys think is a fair price for the F23 package. Worth waiting around for another that's perhaps more reasonably priced? But the fact that this camera is even going for that price—after retailing for 200k+ a decade ago and being used to shoot the highest grossing movie of all time (Avatar)—just absolutely rules

Thanks Phil! If capturing to an external recorder with the Varicam H, is it possible to get genuine 10 bit? That would theoretically also improve the latitude right? I'm seeing some going on eBay for over 2k which seems a little steep, no? (low hours though)

Hey Phil (or whoever is still on this thread), Still looking into all this stuff. Was wondering how many stops of DR I could get out of a AJ-HDC27H (the upgraded model) and how the color/skin tones are on that camera (seems a lot of people love it). Thanks

Wow, that looks stellar. Yeah, I've been coveting the Digital Bolex pretty much since it was released— that camera produces some gorgeous images (and no rolling shutter!) Unfortunately, it seems like both the DB and the Ikonoskop are going for around 5k-7k these days, which is considerably out of my budget. One day! Did you ever shoot on the F900R? Its going for around $1000, and I really dig the 2/3 look– it seems to get pretty good latitude as well ( better than the HVX, at least) I remember Jonathan Demme shot on it for Rachel Getting Married and I really enjoyed that gritty, verite look.

Thanks so much for the detailed reply Phil. Don't know why I skipped the HVX200-- seemed to read somewhere it was less reliable than the DVX but now doing research it seems it's actually just as excellent. Will definitely take a look. My main goal is to try and get a 16mm look, which I've been able to somewhat approximate with the DVX (with the exception of those dreaded jaggies and, of course, the limited latitude)-- I'm worried that the HVX would be too sharp? Or is it just a matter of, as you say, cranking the grain? And would it be best to up the gain in camera or to use something in post for the grain, like FilmConvert?

I'm going to be shooting a documentary soon and want to shoot it on tape-- I've always loved the look and, especially now where everything looks so homogenously Alexa'd, think it's a great way to give the film a distinctive feel. I'm wondering though: should I go with the DVX or the SDX? I like the portability of the DVX (I bought one a few months ago and it's a blast to shoot with) but I suppose my main question is whether the lower compression rate on the SDX would eliminate jaggies/aliasing (the only thing I dislike about DVX footage). Or is that just a problem with SD footage in general? Thinking I would have to upscale the footage to HD, as well, for either right? Thanks, Luka