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Markus Rave

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Everything posted by Markus Rave

  1. I am selling my own Compact Prime set consisting of: 18mm T 3.6 21mm T 2.9 25mm T 2.9 28mm T 2.1 35mm T 2.1 50mm T 1.5 85mm T 1.5 The lens set is in mint condition. Absolutely no scratches on the barrels, not the tiniest bit on the glass. Mechanically and optically like new. Comes in the original Zeiss case for 5 lenses and an Eisele case for 4 lenses. Eisele case is aluminum as the Zeiss is polycabonate. Both very rigid and safe. This is a Series I. So there are not interchangeable mounts. Will sell for 14.999 Euro preferrably in the EU. Will ship worldwide though. I will post pictures soon. Will need your valid VAT ID. Items located in Frankfurt, Germany.
  2. Jeremy, thank you very much!! Your info is very valuable and appreciated. Best Markus
  3. I will be shooting with a Canon 7D fitted with a small HD monitor both fitted with Canon batts. Client has three batts and thinks we get through the day. I have my doubts but don't know since this is my first shoot with prosumer equipment. Could pleas share someone his experience with this issue. We will be shooting whole day plus an interview with the client and I guess it may well become a 10 hrs day. Any advice??
  4. I have shot numerous commercials and a feature using Zeiss CP1. We matched them with Ultras and you can´t tell a difference. They are breathing when you go through focus though. Talking to a sales rep from Zeiss on a recent trade show he aussured me the CP2 do not breathe anymore. I have not shot with Red´s primes but was told that the craftsmanship is not as one would wish. Since you may be able to use the CP2 on all DSLR and they are very light they offer the best bang for the buck in my eyes. A full set of 7 lenses is 17000 Euros which is approx. 22400 USD. Cookes will be about twice that price. The CP´s T-stops won´t matter so much when we are talking about 800 or even 1600 ASA with Epic or Alexa. My 2ct.
  5. We have premiered my last feature film on the 45th IFF in Hof. In all theatres it showed some jitter in the credits in a way that it was very hard to read them at all. In my eyes the speed could be a problem. The fonts were large enough and on an HD monitor all was good. It occurs to me that in the theatre problems arise due to the fact that the picture rate is 24 fps. We projected 1920 x 1080, 1.78x1, cropped to 1.85x1. All titles were made in After Effects, then put out to DPX. The postpro needed all DPX converted into TIF and then converted into the DCP stream. So there might be a problem as well. I wonder if there is any rule of thumb on how fast scrolling can go before problems arise. As for instance 20 lines per second or so. Also font size might have been an issue. Also I guess converting from DPX to TIF could be a problem as well. I would greatly appreciate any help as we are seeing forward screening in other festivals as well. Markus
  6. Thanks a lot , Isidro. I will check on that particular mount. Never seen it before. Do you have any idea if this can be converted to PL?
  7. I have bought a set of rehoused Cookes Mark II and III. The lenses were rehoused with a rugged and well machined housing. The seller says that the lenses were used on a highspeed camera. He does not know which one and I seek an answer to the quest since I never seen this mount. Anybody any idea?? Help is greatly appreciated. Markus
  8. I am selling a Cooke 18-100mm, T3.0 zoom lens in perfect condition. The lens has no marks or dots on the lenses. Clean straight curves on the collimator. Mechanically and optically absolutely mint. Comes with aluminum flightcase, custom fitted foam and od course has all gears. Scales are metric. Price is 8.000,00 Euro. Will make pictures today. Serious inquiries via email please: ravefilm(at)t-online.de
  9. I own an ARRI MMB-1 and want a foldable french flag. Since I don´t find an answer to my question on ARRI site I thought someone may help me here. The french flag that comes with the MMB-1 is very large and I was wondering if I can switch to the flag for the MB-20 which is foldable and will definetely make the case smaller which I need for my mattebox right now. Has anyone knowledge if the fittings of those frenchies have the same distance?
  10. Both lenses will not vignette on S35 and not on the Red One. The Angenieux is softer in focus and does milk more in backlight situtation than the Cooke. Also it is not as contrasty. An older zomm like those two are very heavy workhorses and need to be stopped down as mentioned before. Wide open I would not recommend using them or you taste is soft focus which might be a good reason for use. Make sure you will have a lens rod support. Both will not easily match with modern prime lenses without a good amount of sharpening in post with all the known disadvantages.
  11. My 2ct. If you want to buy think about light and gels. Lasts long, does not loose too much money and you will need to experiment with that anyway. For the start a Kinoflo 4bank (daylight bulbs) and two fresnels (650-1k) with tripods will do. Going ebay will be under 2000 USD for that. Also introduce yourself as a cameraman who shurely wants to become a cinematographer. Anthing else will be not be considered appropriate. And then of course: rent what is needed. For the start I recommend to read: Matters of Light & Depth by Ross Lowell, price under 30 USD and for sure the best investment to be made first.
  12. From the technical point the S4 is just another lens. If you have i-System switched on it will display focus setting, T stop and depth-of-field into the Red´s system. The decision to use either S4 or Zeiss glass is an aesthetic decision and has nothing to do with your technical side of the part. I doubt that many people will be able to distinct the look of an Ultra from an S4. There definetely is one though and you may like one or the other. What you really should be concerned is that the pin which secures the lens from rotating is smaller than the cutout in the PL mount of the lens. That means if you tighten down the lens will be turned clockwise towards the pin and of course when you hit the other end hard with a motor calibration for instance it surely lacks precision with your witness marks on one of the sides. At least that has happened with my Red when you have strong motors like a Heden. The offset is mostly negligible but it´s there and my 1. AC will not stop complaining about it. But this will happen with any lens out there. The negative area of the Red´s sensor compared to 35mm is smaller and so there is a difference if you check you FOV with a Mark IV. I helped myself and taped a conversion chart to my Mark IV. But having chosen a lens means your DOF will be the same no matter where you put the lens on. Shoot safe.
  13. I shot in a warm swimming pool a couple of times and encountered absolutely no problems with my Red.
  14. If you want to be sure, put a grey card where you want the reading and spot measure it. From your testing you will then know if the reading is over or under and if an object will render. Still you need experience to judge. Remember we are not scientists but hopefully artists with some knowledge. I read even guys like Roger Deakins have bad dreams when shooting film sometimes.
  15. Compression is a nightmare in postpro. The camera uses AVCHD as I recall and this is meant for amateur movies not for professional greenscreen work. Do yourself a favour and get the AJA with the camera.
  16. What´s the issue with the distance to the film plane? I thought PL is 54mm diameter and ffd is 52mm except for the highspeed ARRIs.
  17. Sounds to me as you are not looking properly. Try to focus your eyes to infinity and then set focus on the VF. To me it sounds as you are focusing on close distance which of course will lead to what you describe because it is very stressful for the eyes to focus like that for a long time.
  18. I had a set of Schneider primes and compared to the same time Zeiss lenses they are softer. Also I find the coating not as good as of their competitor. This results in milking when you shoot high levels of backlight. But since they are so cheap they offer a good start for your craft. Also I like them quite a lot in controlled studio situations for their soft look. They are sharp in the middle and fall of in focus slightly to the corners. Made for 35mm photography they clearly vignette on S35 wider that 20-24mm. Same do the Zeiss.
  19. I encountered color malfunctions on a feature last year. It turned out, the card reader was not working properly and since that could happen it might even be the card itself has problems. Check with Red. They are very helpful in every aspect and we had a new card reader very fast only paying for the shipment.
  20. The coolest and so most natural looking lighting and augmenting a candle was shown in the American Cinematographer in issue December 2010. On Shutter Island Bob Richardson´s gaffer is holding a gas powered round pipe with a couple of holes burning about 1.5 ft. away from DiCaprio who is igniting a match to enhance the flame. On film this looks amazingly good.
  21. I don´t know if it has been said before but when shooting on S35 going through the optical process all that ends on the screen varies between 750-900 lines. I talked with a well known guy in Europe about this issue. His family is in film business for about 100 years in Switzerland, and he confirms this. Saying so even HD printed directly would produce the same quality. This in my eyes only will change with digital projection since then the differnece will be clearly visible. So the discussion can not only go around 2k-4k issues. It must have more than just technical view to it as for instance that 4k will carry more information concerning gradation and contrast and resolution is just a part of the game.
  22. There is no better choice in this realm. In my consideration it is an artistic and very personal preference. I like the cool look of the Ultras and some like the softer look of the S4´s. In the end it is very hard to tell the difference when you shoot with them. Sometimes it comes out to a more religious debate. There is a difference though and can be seen on the collimator. When it ends on the screen at least I honestly don´t see the difference anymore.
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