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Edith blazek

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Everything posted by Edith blazek

  1. If there is one that is. I'm guessing there isn't and most of the time when that quality of light is needed it's just constructed out of a couple of smaller lights like literibbons or asteras but I want to know if there's an industry equivalent of those ring lights mountable on the lens itself so if there is, let me know.
  2. Surprised nobody here mentioned The apartment from Billy wilder from 1960
  3. So to my dismay, no one has 4 perf movements for the arricam lt. So besides the 2019 film Luce, what are some projects that use 2x anamorphic lenses on 3 perf 35mm film?
  4. Well yeah, but what's special about tronchet scope is that its 2x for 16mm film, the ones you mentioned are probably better for super 16 as it's a wider format.
  5. I absolutely get the standardization bit, I was gonna change everything here for more efficient, powerful counterparts so I'll share it here 1x Digital Sputnik ds6 and ds3 with dopchoice rabbit ears for ds6 and modular yoke to make a ds9 array and holographic diffusers for all of it 2x aputure nova p600c with dopchoice rabbit ears per light and dual yoke to make dual light array 1x each Dopchoice 3 foot lantern and 5 foot octa 2x Hive lighting hornet 200-c/x with source four mini and chimera lantern (not sure to go with pancake or standard) 1x Chimera panel frame 6x6 (not sure what fabrics to spring for) 1x Matthews minivator ii 1x Matthews trio stand lit 2x kupo low mighty stand Now can anyone tell me what the industry standards are for ring lights? I know of the cinering but that's rental only, and I could probably make one with litegear literibbons
  6. If we were comparing bulb to bulb, the 1200d is brighter than a 1200w hmi by over 10000 lumens (126413 for aputure and 110000 for 1.2k) but falls short of an 1800w hmi bulb, of which can be found with 165000 lumens. Now practically it's not as simple but that's on the luminous efficacy bit
  7. Now I have leaves me with two conundrums, 1, how would I go about making a filter tray that would support the movement and length of the filter? And 2, who would be willing to make a filter to the required specification? That I don't know, maybe this is pointless and stacking 2 filters will do just fine, but the allure tho....
  8. Basically what the title says. It's described as unit that "utilizes two gradated Mitchell diffusion filters to increase the strength of the effect as they are slid against each other via a geared track." Now what I'm interested in is how one could go about making a modern day version of this, I imagine to work with modern day matte boxes the filters would have to be super thin but how thin and how to get the effect I don't know.
  9. *speedring option and I just realized I could use the hard light reflector with apurtures side by side so forget that, everything else still stands
  10. As much of a better value the aputures would be, and as nice it would be to be in the dopchoice ecosystem on that note of rentals, I can't deny the fundamental fact the light would be too heavy for my needs as for the weight of one 600c, I can use 2 super hornets in a frame and comfortably be on a c stand as i wouldn't dare put a 600c dual array on a c stand (also i can hollywood with a super hornet), and unlike the aputures, i can use reflectors while the lights are mounted to their respective double bracket while I can only use a softbox when mounted to the double rabbit ears and the f10 fresnel doesnt have a speeding option. Also I prefer the setup of the color array on the hive to the aputure but considering aputure literally just bought prolycht I have a feeling im not gonna be saying that for long. Also, the reason I was planning on one of a litemat instead of 2 sizes in this setup is so I can use them side by side as one light with another accessory from sodyum that I don't remember the name of. Yeah the 6x6, I just didn't think any of the lights I would have would be powerful enough to warrant a 6x6 frame but I guess it would be nice for overheads for the sun for instance.
  11. Okay it's been awhile and since my last update I've had multiple realizations in terms of priorities, the biggest one being the need for powerful, color tunable lights (that hasn't changed) but also lights that are small and can be put on a c stand. With all of this in mind, I've updated my theoretical kit to the following 2x hive lighting super hornet 575c lights with double bracket and super spot reflectors (I was highly hesitant as at 60 lumens per watt they're not the brightest or most efficient light on the block (still brighter than an Arri orbiter lol), but ultimately, it's the only light in this category I feel comfortable putting on a c stand at 6 pounds per head and more and more these days for owning and operating, size is of big importance to me as Im not running around with a grip trucks worth of space for my daily driver vehicle and to me, and one of the upsides of led lighting is reduced size for similar power, seeing these other units out nowadays the size that they are just makes me feel like we're losing something in all of this.) Chimera silver octa beauty 30 in Chimera lantern 30 in 2x litegear litemat spectrum 4s with mercury curve 4 softboxes Light bridge c-go 2.0 kit Matthews roadflags 48 in kit with 1 magic cloth floppy, 1 unbleached muslin floppy, 1 matthbounce floppy, 1 negative fill floppy F&V ultracolor 720s dmx ring light 2x Matthews 3 c stand kit Evalux control one Dmx controller
  12. Does anyone know if it really was the 35mm hypergonar lens that was used or if it was just referenced as a sort of shorthand for anamorphics?
  13. There were a few threads on widescreen 16mm that had it individually brought up with links to defunct websites that supposedly had more information, but I want it for here, does anyone have any information on the 16mm anamorphic process known as tronchet scope, like what gear was involved? I know it was a system based on an anamorphic adapter placed in front of primes on a 16mm camera and that it was used on a few movies back in the day like Lucile Hadžihalilović's "La Bouche De Jean-Pierre" or "Jean Pierre's Mouth", Gaspar Noe's "Seul Contre Tous" or "I Stand Alone", and Carlos Reygadas's "Japòn". If anyone has any other information on this system please drop it here.
  14. What camera mode if you don't mind me asking? I ask as there's a 2.8k 1:1 mode approved by Netflix for shooting anamorphic with the LF
  15. Hello, an article about a rumor for a supposed compact version of the Sony Venice was on my feed and I was intrigued but not sure about some of the details as it seems like a mishmash of specifications like the usage of cfexpress type a over b, or the necessity of having half the readout time of Venice 2 considering how good that was already. Some of this seems not implausible, but just kinda odd, so I wanted to ask if anyone can speak to any part of this https://www.sonyalpharumors.com/wild-rumor-venice-compact-e-mount-camera-coming-in-2023/amp/
  16. What the title says. I was reading interviews on the behind the scenes of nomadland and the cinematographer, Joshua James Richards said he used natural light most of the time but brought in lights like litemats when needed, which in the context of an expansive freeflowing style such as Richards, how do you make that work? Where would the light come in? How do you make it work with natural light? I know some cinematographers like Fraser or lubezki feel you can't as they've expressed in interviews and that's why within their work they prefer to shape the natural light whenever they can. But another I wonder with using litemats to supplement natural light is because of how bright the sun is, wouldn't you need powerful lights to match that? Litemats are efficient but I wouldn't say they're particularly powerful, how do you make that work?
  17. Hey, I know that the Arri lf sensor has a native 1.43:1 aspect ratio and that interested me a lot, but i know that the venice is not that much shorter at 1.5:1, so i want to know if there has been any project that has utilized the venice for 1.43:1 IMAX exhibition and if so, how it went.
  18. Hello, I'm interested if anyone has the original bausch and Lomb cinemascope anamorphics for 35mm film which were arguably the very first complete set of anamorphics for film and used the original baltars as taking lenses (I know there's a set on fjs, I'm just not interested in paying what they're offering it for) or the super cinemascope lenses for cinemascope 55 that can cover full frame and is the first lenses mentioned on Arris white paper about using the Alexa LF and anamorphic lenses. If you have either of these lenses and are interested to sell them, contact me.
  19. Hello, I'm looking for the series 1 cooke speed panchros, in particular the 24mm, 28mm 35mm, 47mm, 58mm, and the 108mm (listed in the brochure as 4 1/4") as these focal lengths are special to this iteration of the panchros, but if you have these or the other focal lengths, those being the 32mm, 40mm, 50mm, 75mm, and 100mm and you are sure your lenses are series 1, please let me know.
  20. Yeah, I'm looking for these very rare super 16 lenses, they include that 4mm t2 that goes fast, and a 5.5mm and an 8mm lens, if you have them and want to sell, please let me know.
  21. Heya, are you still searching for the other lenses and if not, have you thought about selling your 55mm?
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