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Raymond Zrike

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  • Occupation
    Cinematographer
  • Location
    New York
  • My Gear
    Arriflex SR3, Ultra16s, Optimo 17-80, Canon 7-63, Sigma fp

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    rzrike.com

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  1. It's 7-63mm and 8-64mm, just to clarify. The 7-63mm is an update to the 8-64mm. Way better housing, slightly sharper, goes wider, but it's a bit slower.
  2. It does sound like a limitation of the photo lens you are using. Cine lenses have much longer focus throws.
  3. Full frame is a terrible term, and I try to use it as little as possible. Usually just use VV or vista vision, and other camera people know what I’m talking about. It’s also sometimes best to talk about things comparatively, so I’ll usually say “formats larger than s35” rather than just LF. And “LF” tends to be shorthand for the Alexa LF rather than a general term (does anyone refer to the Venice as LF?) for cine purposes at least. The terminology is certainly messy at the moment!
  4. I'd love to try them out and get some 4K scans, but nobody seems to have any of them for rental in NYC. It's odd; been waiting for at least one person on ShareGrid to pick them up for nearly a year.
  5. That's fantastic news! I'm surprised since I wouldn't think there is much market for a PL-mount MFT lens, but that works perfectly for s16. And T2.2! You're basically completely covered with the 20mm, 27mm, 35mm, and 50mm. Maybe throw in a 9.5mm/6mm Ultra 16 for when you have to go wider.
  6. Would the shot at 0:35 in the trailer posted above be a part of those more stylized sequences you are talking about? Because that shot is a good example of what I’m talking about. I'm mainly focused on skin tones—there’s no color in anybody’s face (except for the warm push that is over the whole image). I guess this shot could be evoking an old photograph considering the context of the moment, but it doesn't scream Vision3 to me, at least how most people grade it these days. Also, pairing softer lenses (“‘We literally put optics from the 1950s inside the lens so it wouldn’t look so modern,’ Sasaki said”) with extremely low-grain stock like Vision3 50D, and then finishing with a DI, gives somewhat of a similar feeling of softness that you’d see with a poorly DNR’d scan. Very much my personal opinion, but softer lenses with grainier stock or sharper lenses with less grainy stock both work well while soft lenses with less grainy stock does not. Visible, well-resolved grain gives the appearance of a focused and sharp image. From the third row of the theater at which I saw Flower Moon, the daylight exteriors looked grainless and mushy.
  7. Wow, Marty opted for an iPhone for this shot. Voilà, cinema.
  8. This looks like a Venice. I think a lot of it that was shot on film has kind of a digital appearance because the grade is so aggressive. The daylight exteriors bothered me a lot in particular (saw it at a Dolby Cinema last week).
  9. Has anyone done a comparison between Sony's X-OCN LT and X-OCN ST? I couldn't find any direct comparisons online. I'm wondering how much of a real-world limitation it will be for the upcoming Burano since it'll be limited to X-OCN LT.
  10. The hyper tap isn’t truly flicker free at 24p, and AZ Spectrum had a wait list of about 6 months last I checked, so I went with AM. Great tap.
  11. "Sideways" as in the camera is rotated so that the frame is now vertical? Or "sideways" as in the camera is tilted 90 degrees up or down? The former is not something I'm planning on doing while the latter is. Interesting. I'll probably keep my hand on the top (now the bottom) of the mag the whole time so maybe that won't be an issue. One of my mags made some incredibly weird noises last shoot. Took it out of commission immediately. Nothing worse than a film camera making sounds you haven't heard before.
  12. Good to hear. Thanks! Maybe a test is in order.
  13. Is there any issue with running an SR3 upside down? Or at a 90 degree or more angle? I think I've read about the topic on this forum before, but I can't find the thread. I'm hoping to rig the SR3 like in this demonstration:
  14. All of those could very well be the explanation. Thank you! I'll make sure to have some magenta gels on hand next time. We'll just have to embrace the green for these shots haha
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