Ignacio Aguilar

Well, the Sony Venice has a smaller pixel pitch than Alexa and looks wonderful to my eye. I think it's safe to assume Arri will succeed in mantaining the Alexa quality -if not higher- with smaller pixels after all these years since the original Alexa was released. The camera was originally scheduled for the first half of this year; if they have another year for development the final product should show additional improvements. Dual ISO (800 and 2500 or 3200) and a whole set of internal NDs should be a must.

Hello Stephen, I'm doing well, hopefully the second part of the year will provide more chances to work! My favourite Sidney Lumet's films are 12 ANGRY MEN (1957), THE PAWNBROKER (1964), FAIL SAFE (1964) and THE HILL (1965), which is absolutely brilliant and was shot here in Spain as well, in Almería. I also enjoy quite a lot DOG DAY AFTERNOON (1975). He was a great director, with a very clever use of camera angles and focal lenghts to suit every dramatic moment, and a extremely good actor's director.

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Price lowered, serious offers will be considered.

It's a great movie, very well acted, scripted and directed. The story may be a bit over the top, but sadly, each year that goes on seems more pausible, at least on Spanish television. The cinematography by Owen Roizman is terrific, with his use of very low light levels -he claimed that a night scene at the office with Faye Dunaway and William Holden was lit using hidden 25w bulbs as the main source of light- wide open lenses and very shallow depth of field with 100 ASA film stocks. There's a scene at the beginning -at night on the street, just in front of the office building, when Holden is telling the story about his friend and the guy who thought he was about to commit suicide- that may have been shot at T1.1 on the Panavision Ultra Speed lenses, but it looks very natural and unlit, with a real night feeling. It's a pity that Sidney Lumet, one of the greatest film directors ever, and Roizman, only worked together on this film, they seemed to suit each other very well. Or it was the second, if we consider that Roizman was Gerald Hirschfeld's assistant on FAIL SAFE (1964).

The most ambitious Western that Leone ever attemped. Better, more expensive than the previous and more complex, with great characters, incredible music score and great themes on America and its pioneers. Great Techniscope photography by Tonino Delli Colli and great Spanish locations and sets built in La Calahorra (Granada), near Almería. "The Good, The Bad and the Ugly" is funnier, an opera Western at times and a little campy, but too long, while "For a Few Dollars More" is great in its simplicity, as it was really a starting point for Leone, even though most of his trademarks are already there. Don't forget that "For a Fistful of Dollars" was a remake of "Yojimbo", originally done without the rights, which were settled after the release with Kurosawa. It's a nice little movie, but the others are improved in style, characters, story and production values.

After all these years since we started the thread, I would say that Cooke Speed Panchros were the lenses of choice, together with the Angenieux 10 to 1 (25mm to 250mm) T3.9 zoom. The zoom was mostly used stopped down for daylight exterior work, and the primes for night and interior work in lower light levels, a common practice back then.

I have for sale a Cartoni C40s head. Used, with cosmetic wear, but in very good working condition since it has been recently fully serviced at Cartoni. 150mm or Mitchell base with its own adapter. It supports big cameras even with heavy zoom lenses. ASKING PRICE is 4.000€ 0% VAT offered for EU VAT registered and International Buyers. Shipping worldwide. Email: info@harmonicarental.com

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Here's a test of this particular set of lenses: LEICA R LENS TEST

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Another two videos shot with this actual set of lenses: https://vimeo.com/294219816 https://vimeo.com/367000771