Mr. Macgregor

A girl lost in the middle of a crowd. We slowly zoom into her face. So she is pretty static. I dont think focus pulling will be a problem. I might stick to T4.0 either if i use the angenieux or the cooke. I need a sharp image free of aberrations. BTW, Today i was watching 2001 in 1080p and every close up of the apes looks VERY bad (terrible focus and vigneting corners) while all other medium or wide angle shots are extremely sharp. Sooo, i am thinking now that 100 might not be enough. 150mm should be the goal but i have not been in the location yet. uhmmm...

Sooo. I am shooting film at 24 fps. In the back i have a rear projector displaying images shot in HD at 25fps ( i might easily resampled them to 24 fps anyway) but usually DLP even in PAL countries run at 59.94 fps. How can i achieve a flicker free image? i am lost.

Yep, i need to go from 30 to something like 100mm in the shot. Slowly. Handheld.

435 + Angenieux optimo (the big one 24-290mm) + handheld... It sounds terribly good for my back! ;D

Hello. I plan to be shooting this next month a super35mm film with Cooke S4 at T2.8 and for a couple of shots i will need a zoom lense to perform a zoom close up. Now, what do you think i should choose that achieves the closest image texture and resoultion and that could not destroy the T2.8 DOF style? Thaaaaaaank you!

But i belive the Varicam works in 25p only in a 60fps streamline. Strange. Also on the latest upgrade of FCP i can read: "FCP does not support DVCPRO HD 720p25 capture from or output to tape." So, basically, using a 720p25 DVCpro HD preset in FCP, will i be able to capture from the 1200 deck and edit? Is that simple? ;)

THanks Mike, but can i still capture with a 1200 deck? Hahaha, Stephen, we are all waiting for RED, or any similar product...

I juste read this: "FCP does not support DVCPRO HD 720p25 capture from or output to tape." SO what did you do finally? I´m fckd.

Is there any way i can capture/edit footage via firewire recorded with a Varicam at 720/25p? Avid does not seem to do it. FCP can do it now? It seems i am not going to be able to sleep tonight. We shoot 5 tapes thinking FCP had solved the 25 compatiblity but it seems still it has not been released any update that can handle 720 25p. :(

Thanks to all. Finally the candles were replaced by fire and oil lamps. I used different light sources combined: small kinoflos to create a soft light on faces, and 1000w blondes with a dimmer to play with the room intensity. The gaffer helped here a lot. I will post the results soon. Job was fine. :D Note: also, i twicked the white balance on camera. Even when having all lights at 3200ºK, white balance on camera was set to 9,900ºK in order to get a veeeery warm effect.

Hi! What is the best way (cost/efficient) to create a candle light effect lighting one character and some parts of a room? I was thinking to use one of these chinese lamps with a 500w bulb inside attached to a long microphone boom pole in order to move it around. I think there was a pro-version of this home made light, made by some important brand but i cant find it (i thought it was kinoflo...). Any other way to do the effect? thnks

Thanks Mitch, since we are on digitall and it is easier to measure, i would like to know how many lines do the lense loose at full aperture compared to T2.8 for example. Any way were i can find this? Or do you think because the "lower" resolution of the varicam CCDs, there is not really going to be a difference in definition shooting at T1.5? Thanks

Hi. Is the quality affected when shooting at max T apperture with the FJs and the varicam?

Hi all. If anyone has seen The royal tenenmabums you will quickly notice the huge barrel distortion. This is obviously made on purpouse (director trademark), and does not only appear on ultra wide angle shots, but even in medium shots. So i was wondering if anyone knows what lenses were used or if the DoP uses some kind of attached wide angle adapter (maybe very old anamorphic lenses?). :lol:

B) So any other option for the same quality/price that you can think?

Excuse me for my english, but what does "lead" stands for?

The problem is that arri does not seem to sell them anymore. :( And master primes have a huge waiting list for orders...

Hello, i am looking for certain zeiss super speeds mk2 or 3 in good condition. If you have any please contact me by email. Thanks :)

Wow, Old topic i see. The truth is that i am actually working with cineon files in AE. So problem solved.

Yes, no sync sound during the filming.

Thanks to all. Finally the decission is to go with the Arri 435 super35 4 perf (yes, a waste of film) and the zeiss T2.1. Price: 2,500.

Yep, pretty easy answer for those who have used both cameras. Does the 235 show so much gate flicker as the old 2C or is almost as good as a 435? Thanks!

PROBLEMS, PROBLEMS, PROBLEMS. There are no 3perf cameras available at the rental house. So I am totally confused now in what to do. This is a shortfilm so the budget is very limited. These are the 2 budgets that the producer forwared to me: Budget 1: 3.650 euro (more or less the same in USD) CAMARA ARRIFLEX 535B (or MOVIECAM COMPACT MK II) ZEISS T2.1 (16-20-24-32-40-50-85mm.) O'CONNOR ULTIMATE head Budget 2: 2.200 euro CAMARA ARRIFLEX BL IV ZEISS T2.1 (16-20-24-32-40-50-85mm.) O'CONNOR ULTIMATE head The final prints will be 2.35 scope. I prefer to use the Cooke ultra prime S4 instead of these zeiss T2.1. Even i think i would like more the superspeeds if i dont have the chance of using the S4. But still we would be filming 4 perf spherical super 35mm when the goal is to go to scope. A pity and waste of film. The rental house gave me the possibility of renting a ULTRASCOPE T2.2 lense set (35, 40, 50, 75 and 100mm) which i have no idea how they will perform. Probably and old and not a very high quality glass. Still, does it make sense to with the higher definition anamorphic workflow with the ultrascope or to shoot s35mm with the S4? Thanks

Hi all. In two weeks we will start filming a shortfilm for which i need a camera: - capable of 3 perf (2 perf would be wonderfull) - super 35mm - as lighter as possible since the director wants as many hand held shots as possible (last time i almost died with a 435 in my shoulder for only 10 minutes) - we need to record sound, so a quiet camera is a must (unless there is no other option than dubbing later) - capable of slow motion (60 fps) - variable shutter settings with easy access or electronic control. - cheap to rent :D So the arri lite would be perfect, but it only gets up to 40fps if i remember well. A BL4 is not too bad for shoulder mount, but i think it is not easy/fast to change shutter angle. A 535 is far to heavy. Arri 2C is too old and too much window movement, besides nooooise. I have never used aaton/moviecam, so i dont know if there is something to choose from. What do you think?

0,25? would be around $0.30 per frame at 2k. I import the cineon files in after effects. No problems at all. Then i render a 720p quicktime file with time code so i can edit anyware i want (Vegas in my case). Later i just have to go and do the same editing with the cineon files in the original quality. Sure this is not the smartest way in a world of EDLs, but i´ve heard of no one who edits with native 2k cineon files, so this is kind of being pioneer. :lol: Footage is 100 Gb, so not too big for any fast machine.