Jump to content

Edith blazek

Basic Member
 View Profile  See their activity

  • Posts

    119

  • Joined

  • Last visited

 Content Type 

Everything posted by Edith blazek

  1. Edith blazek
    Basically what the title says, I just don't know where to go as I found a really good deal on the mini LF and I'd save a good amount of money, and it has the aesthetic I'm looking for when in combination with the lenses I'd use and how I shoot, and has a sensor size that fits my needs in terms of cropping. But at the same time, the Alexa 35 has better image quality in basically every way and looks like it will last longer as an investment as I'm not just buying and shooting for myself obviously, I'm renting whatever I get out to others in my area and I'm not sure how much longer the Alexa mini LF has in terms of longevity. I know Arri is committed to it as they made it the camera to get the monochrome treatment in their rental fleet and they said it will be their main LF camera for the next 3 years at least, but I don't know if that will be long enough to make buying a mini LF over a 35 worth it. But at the same time, I'm just not sure the image quality advancements over the LF sensor will sell to the point of killing it as the LF was already so good, you have people like Roger Deakins not overly enthusiastic about the 35 for that reason (just read posts on his forum) and I personally am not sure either from what I've seen so that's why I'm here, what are your thoughts?
  2. Edith blazek
    Hello, I see for some vintage lenses you can easily see online what movies were made in the era the lenses were made, like the Bausch and Lomb super baltars have the Godfather parts 1 and 2, the Cooke speed panchro have Casablanca and The Sound of Music, the Canon k35s have Aliens and Barry Lyndon, so on and so forth. But one I don't really see having older movies shot with them are the kowa prominar anamorphic lenses, like whenever someone asks about what movies were shot on them, you always here modern movies like Moonlight, A Star is Born, First Man, No Sudden Move, etc.... But never movies that were shot in the time period the lenses were made, so if anyone could give me examples of that, that would be great.
  3. Edith blazek
    Hello, has anyone made a pl mount to pl mount focal reducer for super 16 cameras? I want to use larger format lenses on super 16 film cameras with lenses like the 12mm master prime, or the 18mm tokina and it's derivatives. I don't want to pigeonhole myself into buying a whole bunch of super 16 primes (before you ask, no one in my area offers any motion picture film cameras), but I want to use them to their fullest image circle wise while on super 16 as I feel it within the world of the available film stocks like vision3 it still has texture comparable to old film stocks but I want the perspective that shooting a super 35 or larger camera would force me to do in terms of distance from the subject relative to the field of view. So y'know how there's pl to pl focal expanders? Has anyone made a pl to pl focal reducers then? Also, can you convert a 416 to shoot regular 16mm like you can with an sr3? I just want to know as another element of which to buy.
  4. Edith blazek
    Yeah I checked again and it's back to $69k, I remember the site catalog being nuked with only like 3 cameras but i guess that was a backlog thing. I can somewhat understand your point as for being nearly 4x the price to buy over an sr3, the 416 only garners like 2x the rental price.
  5. Edith blazek
    Alright, in terms of getting either the bl4 or Penelope serviced, which one is the better choice?
  6. Edith blazek
    Unless someone is still doing conversions of say a bl4 to 2 perf, it's looking like the best way to shoot sync sound 2 perf is with an Aaton Penelope. Problem being that the one on offer from fjs international is like $85k, roughly $20k more than the last time I saw a Penelope on there, so I'm here. Does anyone know of anyone with an Aaton Penelope for sale?
  7. Edith blazek
    Hello, so im SOL on getting the arricam lt to shoot 2 perf as Arri themselves don't have any in stock and nobody is selling on the used market. But I remember there's the Aaton Penelope which can be switched from 3 perf to 2 perf easily, which is nice, but the reason I wasn't super interested in it was I thought you couldn't shoot 4 perf with it, but I didn't look to deep into it so that's why I'm here, has anyone made a 4 perf movement for the Aaton Penelope and if so, does anyone have one available?
  8. Edith blazek
    I didn't think of Arri since I thought they discontinued the arricam but did service them.
  9. Edith blazek
    Hello, does anyone know of anyone or place to buy a 2 perf movement for the arricam lt? It doesn't look am camera doesn't have it and I don't know who other than them would have it so if anyone could give me an active source to pursue on that, that would be great.
  10. Edith blazek
    The lenses I'd use would be lenses with fat barrels like the panchro/i classics, tribe7 blackwing7s, and master primes for example
  11. Edith blazek
    Hi, I see that the arri made the 416 as an upgrade to the sr3 specifically so the 416 could accommodate larger lenses without hitting the viewfinder. The problem is the pricing difference between the two cameras is crazy, the 416 being nearly 4x the price used while on average only garnering 2x the price in rentals, I would without hesitation go for the sr3 but the problem is I frequently use larger lenses so if anyone has come up with a solution to use larger lenses like on the 416 but on the sr3 please tell me.
  12. Edith blazek
    This proves once again that Tommy Wiseau is a visionary of kino, pioneering the simultaneous capture of film and digital in 'the room', here used for something else.
  13. Edith blazek
    Oh I agree on the glass, don't get me wrong, it's probably one of the better filmmaking investments out there, and I agree on the lights, which is why im pondering this.
  14. Edith blazek
    So I was thinking back to something @David Mullen ASC said on one of my posts awhile ago, about the "the desire to spend a lot of money to own a lot of lighting equipment" and looking back, it brings up something i haven't considered and kinda accepted as a yes uncritically, and thats whether cinematographers should even aspire to own lighting gear. I took it as a yes owing to online spaces beating the drum that cameras aren't important but that lenses and lights are, "Invest in glass and lights" they say, which isn't completely wrong, but just kinda misleading as people say this, but then when pressed on what they mean on lighting, they always mean lighting gear (either in the individual fixtures themselves or in how many fixtures) that is really only good for interviews or really small spaces and not in any filmmaking scenario that takes in larger spaces (as it would defeat the idea of the Ultra portable lighting kit you can have with your personal little camera bag and take with you around the world like all of those travel vloggers), as from the past year I've been seeing lighting setups and the conclusion I've come to is that the amount of light needed is heavily underestimated by alot of amateurs, including myself. I can only see someone hitting ceiling after ceiling with lighting gear and going for more and more in response, which then I ask, why bother? Why not avoid the hassle and just stick to renting what you exactly need? I always answered this to myself by saying that maybe the rental outlet may not have what you exactly need or in locations you may not know what availability you will have access to, hearing about Roger Deakins expansive use of maxi brutes or Sean Bobbit's of six 18ks for a gymnasium really sobered me on this, making me take a step back on whether to really go for an extensive lighting kit to own, even if i was going to rebt it out, let me know your thoughts.
  15. Edith blazek
    Okay, within your time of testing the foton anamorphic on the dragon, did you ever test if it covered opengate?
  16. Edith blazek
    I didn't mean the full opengate sensor, I meant 8k 6:5 crop, reason I asked is that I do know some super 35 anamorphic lenses that cover that mode, like 40mm and up on the atlas orion lenses for example, and I don't particularly care about edge performance as it's a soft lens through and through, it doesn't matter to me.
  17. Edith blazek
    Bump
  18. Edith blazek
    Hello, I'm wondering if anyone has a nine volt pogo run stop trigger for red komodo they don't need and want off their hands, let me know what you'd be willing to do in terms of pricing. Here is what I'm talking about https://nine-volt.com/products/run-stop-trigger-for-red-komodo-pogo-version
  19. Edith blazek
    Nvm, for the few thousand dollars I'd save by going with the dragon, I'd lose out on nearly half what I can price on rentals, forget that.
  20. Edith blazek
    Update, I calculated it, and the dragon vv is signifigantly less expensive than the raptor fully kitted out, so I will probably go for the dragon unless within the time it takes for me to purchase it, it sells, then I will get the raptor.
  21. Edith blazek
    Still available?
  22. Edith blazek
    As for the reason, I wanted a red camera as I like the grungy aesthetic they deliver, and I wanted a full frame camera, and also I wanted something like the vraptor as it's highly versatile and fits my needs, I don't really need a bigger camera either, and I would want the flexibility in terms of lenses I'd get from the rf mount, that's why I'm looking at the two cameras as I can use Leica m lenses with them. As for renting, I'd use it on my personal projects, but I'd definitely would be renting out whatever I get a lot.
  23. Edith blazek
    On pricing, at first it seemed like a good deal, but honestly by the time I'm done with it, the two will probably cost around the same anyways, that's why I'm placing the conundrum as being aesthetics vs practicality.
  24. Edith blazek
    Bump
  25. Edith blazek
    Hello, I'm looking to buy a cinema camera in this range of price and the 2 options I have come to are between the new red vraptor, and a old used red dragon 8k vv, which would be the better bet? could I get decent money renting the dragon vv? I'm in the DMV area of the US btw. Now why these cameras? Well it's because I actually like the look of red cameras (it just appeals to me more) and for my workflow I like having the 8k (personally speaking, I know I will get some up my ass for this tho), and I can use Leica m mount lenses so that kinda alot of other options are out of the running. I know the vraptor absolutely has a technical advantage over the dragon in every way and it has great image quality, but I like the gritty look and aesthetic of the dragon sensor with the legacy color science, to me it exemplifies what I associate with the look of red cameras the most and I'd have to do some work in post to get that out of the vraptor since you can't choose legacy color when shooting but can only work on that through selecting legacy color in redcine-x (not the end of the world I realize, but prefer to go with something I know will give me the aesthetic I want as I haven't seen any footage matching the dragon from the vraptor), and I also have no option for hdrx or any resolution options besides whole numbers on the vraptor. Basically I'm dealing with the age old conundrum of practicality vs aesthetics and I don't know where to go. If anyone has some advice, please give it to me, also if you have also pondered how to make the vraptor look like the older red cameras and succeeded in matching them based on the dragon, please tell me your ipp2 settings.
×
×
  • Create New...