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Edith blazek

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Everything posted by Edith blazek

  1. Edith blazek
    Bump. Arris, but I don't hear about using prores on reds or the Venice 2, unless someone wants to say to the contrary.
  2. Edith blazek
    I know alexas out of the big three brands are ones that people frequently shoot in prores on their higher end models. But I'm just not sure about the others
  3. Edith blazek
    Bump
  4. Edith blazek
    You know how reds have prores but nobody uses that? I wonder if it's the same for the Venice 2. I remember hearing about people using codecs other than raw on the original Venice though.
  5. Edith blazek
    Bump, can anyone affirm or deny whether the rental houses are correct in saying the kowa cine prominar sphericals are based on cooke speed panchros and Bausch and lomb super baltars?
  6. Edith blazek
    And lensworks also says that but the reason I'm asking here is that I don't know if that bit is just rental house conjecture where they're just saying that to boost rentals as again, some say they're not so i wanted to know if anyone definitively knew.
  7. Edith blazek
    I ask as I've seen some say this but I've also heard that it's not true given the character of the prominars versus those other lenses so if anyone with more knowledge than me could confirm or deny that would be great.
  8. Edith blazek
    I ask as a system like it with the DJI ronin 2 seems to cost far less than something like the Arri trinity but be more versatile but that's the thing, something is usually lost for that lower price, so if anyone could tell me what, please let me know
  9. Edith blazek
    I ask as they point of shooting on the larger format film (or even digital) cameras on 16mm productions is usually to have a higher technical quality image for vfx in a scene which would add film emulation on top to bring it back to looking like 16mm film (see something like winning time, the juggernaut music video, or even irreversible). Given that objective, would a good hd tap like an indieassist on a 416 be good in this regard?
  10. Edith blazek
    I know it's probably a camera given the camera centric people in charge of the livestream and it's theorized it will be a lite version of the Alexa 35 (and I hope 265 given all of those new expanders out there) and Arri liked a comment on its post saying that it will have the revised alev3 sensor so maybe it will be 265 or lf but with the revisions but if anyone has more info please, be our guest.
  11. Edith blazek
    Is there a name for the color pattern stuff in relation to film?
  12. Edith blazek
    Is the noise more filmic or digital by your measure?
  13. Edith blazek
    What the title says. For the record, I'm okay with the prospect of noise reduction with this camera if required as you'd sometimes have to do that with film scans sometimes anywaybso I'm not picky in that regard. The reason I'm asking others is that I don't have a good monitoring device at the moment to make a good judgement on this aspect so I'm here asking if anyone could but in with a more professional opinion on what they've seen from a source more optimal for making image quality judgements so please, tell me. Also, is the noise heavier on chroma or luminance in how it manifests?
  14. Edith blazek
    Wait, wouldn't the 2.9 micron pitch of the Ursa cine result in a 4.3k image for the exact crop of super 16?
  15. Edith blazek
    But here's the problem with yours and everyone bringing up the creator, that film bombed financially, or at least underperformed for what should've been easy to recover financially so that experiment failed.
  16. Edith blazek
    Okay I'm pretty sure someone else in the history of cinema has thought of using 2x anamorphic on 3 perf film before or at least after larkin seiple, can someone point to that?
  17. Edith blazek
    Bump
  18. Edith blazek
    I was reading the asc article on Godzilla king of the monsters where it mentions that Lawrence Sher and the team shot on panavision c series anamorphics on the Alexa 65, using spherical lenses when needed for more challenging effects shots but what would the practical point of using c series (mind you it doesn't say whether they were expanded) on an Alexa 65 for a typical release? I thought it could help for vfx but they used spherical lenses for when they needed more resolution, so was it purely aesthetic? Why go for it with the anamorphic lenses instead of the xt studio they were also considering? https://theasc.com/articles/royal-rumble-godzilla-king-of-the-monsters
  19. Edith blazek
    Im just curious but I do remember hearing about how the ultra vista lenses from panavision have rear anamorphic optics to partially cancel the squeeze of the front anamorphic optics to create a 1.65x lens and that piqued my curiosity.
  20. Edith blazek
    So the squeeze is compounding? Is I were to set the rear anamorphic 90 degrees in the mount, could I cancel our the stretch?
  21. Edith blazek
    Also, could anyone tell me how cinematographers use signature primes on the 65 like on tàr and nightmare alley?
  22. Edith blazek
    Could someone tell me this? Has anyone done this? What is the effect?
  23. Edith blazek
    I know that and hell, I've seen some people debate whether anything smaller that 645 format like 44x33 or 5 perf 65 are even medium format.
  24. Edith blazek
    Doesn't Arri put the lf cameras and 65 under the same umbrella of large format sometimes?
  25. Edith blazek
    Yeah that was my thought, not like it's a slouch. The alev 3 sensor still has a leg up on everything on the market behind the 35, the Ursa cine seems to have catched up when down sampling in total measures dynamic range but is still a stop behind in exposure latitude compared to the arri Alexa mini lf
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