Adam Frisch FSF

Just used the Supremes on an Alexa LF job. They're nice, but very clean and "German precision". I'd use them again for jobs where you'd maybe use Master Primes or Ultra Primes.

Proceed as normal. Don't change anything. ;)

TLS does gorgeous work, the best I would say. But they cost a fortune and the wait is forever. Prob more like 2 years to get it done. And what's worse - if any of their buddies or previous customers come along, they get slotted in before you. This has been a complaint from many rental houses I've spoken to - unless you're in with them or a larger customer, they'll work on your stuff last. I personally went with Nan and his company GL Optics in China. He's a standup guy and does good work. The precision of his lenses has also increased considerably and they're now close to being as tight as western conversions. His prices are very competitive, but he's also got a backlog these days. Prob count on close to a year to get a set done. But I'm using him again for my LF lens conversion. There's also a new kid here in LA that does conversions called Zero Optik. He does great work and I just played with his Angeniuex F0.95 conversion yesterday. Beautiful lens.

Magazines now gone to a new home. Thanks!

Got too much clutter and poop everywhere, driving me nuts. I have pretty much every AC magazine since the late 80's and I thought rather than just dump it, let me check if someone here is interested. Now, many of the older magazines are a little water damaged and some pages stick together. Issues after the mid to late 90's are pristine. About 6 years worth of ICG magazines as well. But you have to take them all. They're in Hollywood area, so let me know if you want them. PM me if interested.

Love the cinematography. Feels real in that Owen Roizman 70's way. Refreshing.

10-13amps in both countries. UK has a different plug than Sweden (Euro plug) does, but you can jam a Euro plug into a UK one as long as you first jam the ground and open the covers up. But it doesn't work the other way around.

Two commercials I shot on the LF with the K35. Didn't get a "feel" for the K35's, somehow. They just looked a lot like any vanilla glass would, nothing that special in my view. A little chromatic aberration wide open, so had to stop down slightly on some of the shots. The night stuff is pretty wide open. We did have a few close-up's where the director thought it was too shallow depth of field, so had to stop those down (but they're not in these clips, they were for another ad that's not ready yet). But you can see the pretty dramatic drop-off in the mid shot of the mum in the car with her son in the back - there's a distinct difference in focus planes there. Not in love with the grade they made and they're not very exciting or great films, but at least something to compare to: https://vimeo.com/291560733 https://vimeo.com/291548337

Shot the LF and K35 recently. Liked the camera, although it's very big and heavy, but the lenses were not a good match, I think. A little meh.

Use the Inspire 2 with Zenmuse all the time on car commercials with 4K delivery. Cuts right in.

Problem in hand: Client wants to shoot 120fps or potentially higher (maybe 200fps). Ideally Alexa, but not cast in stone. We want minimal depth-of-field, which means the largest sensor area for the speed needed (don't care if that means less resolution, as long as it doesn't start cropping into sensor too much). As we know, when we increase frame rate, most cameras both window the sensor and/or drop resolution. Don't want windowing, or at least minimal. Now I've just spent 1hr on the phone with people trying to find specs/resolution charts/windowing info and manuals etc trying to figure out which camera is best for these particular job parameters (i.e. what camera will allow the biggest sensor area for the given high speed). Surely, there must be an easier way? Is there no graphical tool or app where all these parameters between all cameras can be compared? It's driving me nuts.

Item is sold.

Just get a Skypanel and dial in the TV setting it has built in! :)

These were the TLS re-hosued K35's, so mechanically they were impeccable. I did find them nice, but kind of vanilla as far as vintage goes. I did test them before the shoot and they had a wonderful bokeh, but somehow on set I didn't feel much of that. Even on the night stuff. It was hard provoking them. Did have some veiling glare, but not to the extent my older Lomo's or some other vintage lenses do. Showed some chromatic aberration wide open. Need to stop them down if you want sharpness. I'll post some stills when I'm allowed to.

Shake Shack does a great burger here - it has sailed up as one of my new fav's. The Habit here in SoCal is also damn good.

Yeah, up to 90 degrees nobody can really tell. Somewhere between 90 and 45 degrees it starts getting noticeable.

Just finished my first shoot on the LF. Used the K35 Canon re-housed lenses on this job. Many of them open up to T1.3 and cover the FF, so you can really get some drop off if you want to (although they get a bit mushy there). The images were lovely. It's also less noisy at higher ISO-settings than a smaller Mini or SXT, so a good choice for night stuff. Uses a lot of power though, and it's a very heavy camera, so that's a detriment. That said, the director complained that on some of the closer shots, it was almost too much drop off. He said, "the background looks comped in, like we shot it on green screen or something". So had to stop down a little more, to around T4-5.6 for some of these closer shots to satisfy him. Which kind defies the purpose of having such a large format. I was on the fence - I saw his point as valid, but still liked the shallow DOF it produced. I could have gone either way. What wasn't in contention is how lovely it is to have a hint of drop off on even wider images. Even in mediums and full body shots, you could see a light drop-off in focus in background, which is nice to have. Gives it that medium format vibe, which is almost impossible to achieve on super 35 sized chips. I'd love to use it again, and I will, but for the right project (not handheld). Also, there's a lack of lenses still, unless you want super clean, crisp Zeiss stuff. The eco-system we have with vintage and funky lenses for the smaller formats, is still going to dominate the scene I think until more old lenses have been converted to this larger format.

Yeah, about a stop per decade. But it's best to err on the overexposure side.

Thanks - it worked fine. My AC set it up like you said, with a preset. Clients never even noticed on set.

Cheers, nice one. I'm very happy I ordered a set over a year ago - all the stuff I've seen has been great. They said delivery in July, now.

Only need one. 32mm can do everything.

Looking to sell my Aaton 35III, unfortunately. It's impossible to get film on the kinds of jobs I do, so it's better it gets used by someone than just sit in the box. It's an Aaton 35III with anamorphic and 16:9 Groundglass. PL-mount, Super 35 centered. Full frame gate. NTSC video tap with SD monitor. Three newly re-celled onboard batteries. 110V charger (I think, might be 220V). Walnut grip w. start/stop and cable and a little bracket fro 15mm screw in rods (but not the attachment for the grip). 3x400ft mags. In two custom cases. Looking for $6K for the whole shebang. Camera can be inspected in LA.

Go Good tip - I just bought a lens block and will have it converted down the road.

In my newly converted set of vintage Lomo's, they all cover Super 35, except for the 28mm. It does however cover APS-C size. If I drop in resolution to 2.8K it will cover on the Mini. But is there a way to shoot full Super 35/3.2K aperture but just zoom in slightly on the viewing so it doesn't freak people out when they watch the displays? I'd rather do that than change resolution halfway through a card. Possible?

I have an Aaton 35III 4-perf I might be willing to part with. Color video tap, open gate, academy and scope ground glasses, 3 mags, 2 newly re-celled onboard batteries, charger etc. I've shot with camera and it was newly serviced when I bought it a few years ago. Make me an offer I can't refuse. :)