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  1. ALEXA LF Pro Camera Set $115,000 omar@raw-entertainment.com ALEXA LF Pro Camera Set, 2 TB Includes: 1x ALEXA LF Basic Camera Set for Pro Set, 2 TB 4x Codex SXR Capture Drive 2TB 1x ALEXA LPL LF FSND Filter Set, Full 1x ALEXA Bundle Accessory Set, EV/Plus/W/LF Note 1: Docks or on-board battery adapters are not included and can be ordered separately. Note 2: For use with FSND filters, the included FSND shim has to be installed to assure proper flange focal depth.
  2. Arri Alexa Super 35 Alexa 35 Production Set (19mm Studio) $78,000 NEW PRICE PRE-ORDER NOW omar@raw-entertainment.com Includes: K1.0039373 1x ALEXA 35 camera body 10.0043678 1x ALEXA 35 Cine License K2.0018983 1x ARRI LPL Mount (LBUS) K2.0016936 1x ARRI PL-to-LPL Adapter K2.0034180 1x Balance Utility Dovetail BUD-1 K2.0023751 1x B-Mount Battery Adapter K2.0020916 1x Multi Viewfinder MVF-2 K2.0042857 2x Cable VF Right Angle (0.5m/1.5ft) K2.75007.0 1x Camera Power Cable Straight 2m/6.6in KC -50 K2.0024101 1x Power Distribution Module PDM-1 KK.0041533 1x Production Support Set - Top KK.0041534 1x Production Support Set - Side KK.0041535 1x Production Support Set - Bottom Note: This set does not include recording media, media dock/reader, batteries, or lenses, which should be ordered separately.
  3. For Sale : Arri Alexa Mini LF Camera Package 777 Hours Price : $75K US Contact sales@broadcastsolutions.com for details.
  4. $35K US License Included: ArriRaw & 4:3 Hours: 2702 Arri Alexa Mini Arri Titanium PL LDS Mount w/LBUS port Arri MVF-1 VF #8512 VF Cable qty-2 CCH-2 Center Camera Handle MAP-2 Mini Adapter Plate qty.- 2 MSB-1 Mini Side Bracket qty-2 MVB-1 15mm Mini VF Bracket /2x 15mm Rods & 19mm VF MAP-1 Mini Adapter Plate CSP-1 Shoulder Pad w/15mm Mt. ECS Antenna BAP-1 Battery Adapter w/15mm Rod Mt IDX V-Mount Battery Plate w/Power Cable For Alexa Mini Lexar USB3/Thunderbolt 2 CFast Card Reader SanDisk USB3 CFast Card Reader Thunderbolt 2 Cable USB3 Cable (Type-A/Type-A) USB3 Cable (Type-A/Type-B)
  5. Arri Alexa 4k Super 35 Alexa 35 Production Set (19mm Studio) $76,500 PRE-ORDER NOW omar@raw-entertainment.com Includes: K1.0039373 1x ALEXA 35 camera body 10.0043678 1x ALEXA 35 Cine License K2.0018983 1x ARRI LPL Mount (LBUS) K2.0016936 1x ARRI PL-to-LPL Adapter K2.0034180 1x Balance Utility Dovetail BUD-1 K2.0023751 1x B-Mount Battery Adapter K2.0020916 1x Multi Viewfinder MVF-2 K2.0042857 2x Cable VF Right Angle (0.5m/1.5ft) K2.75007.0 1x Camera Power Cable Straight 2m/6.6in KC -50 K2.0024101 1x Power Distribution Module PDM-1 KK.0041533 1x Production Support Set - Top KK.0041534 1x Production Support Set - Side KK.0041535 1x Production Support Set - Bottom Note: This set does not include recording media, media dock/reader, batteries, or lenses, which should be ordered separately. Omar Alarian COO / Film Producer IMDB: www.imdb.com/name/nm7440967/ Raw Entertainment www.raw-entertainment.com Email: omar@raw-entertainment.com E27329C5-B144-4B8F-8BA2-A213AD3A3BAD.webp
  6. Arri Mini Alexa LOW HOURS 1400 Price: $39k Ready to Shoot Package omar@raw-entertainment.com Omar Alarian COO / Film Producer IMDB: www.imdb.com/name/nm7440967/ Raw Entertainment www.raw-entertainment.com Gold Sponsor: www.cinematography.net Sponsor: www.cinematography.com Latest Feature Film Trailer Welad Rizk: youtu.be/KbuuzxTxhP4 Youtube Channel: youtube.com/c/RAWegypt Instagram: instagram.com/rawegypt?igshid=YmMyMTA2M2Y= Facebook: www.facebook.com/rawegypt Address: 55 Abd El-Haleem Hussein Ad Doqi Dokki Giza, Egypt Cell: +2 010 996 7575 3 USA: +16176104227 omar@raw-entertainment.com
  7. JUST LISTEDArri Alexa Mini Camera Package Hrs.- 4604 $29KArri Reconditoned The Sensor 5/21Licenses Included ARRIRAW & Anamorphic1 - Arri Alexa Mini PL Mount 1- Arri Alexa Mini MVF - m1 ML EVF 2 - Arri Alexa Mini EVF Cable 1 - Arri Alexa Mini MVB - 1 EVF Mounting Bracket 2 - Arri Alexa Mini Side Bracket (MSB-1) 2 - Arri Alexa Mini Adapter Plate (MAP-2) with LWS 1 - Arri Alexa Mini Bridge Plate Adapter 1(BPA-4) 1 - Arri Alexa Mini Center Camera Handle (CCH-2) 1 - Arri Alexa Mini Battery Adapter Plate (BAP) 1 - Arri Alexa Mini WC D-Box 2 - 15mm Iris Rods - Short 1-6” 1 - Arri Alexa Mini 24V Power Cable 1 - Wooden Camera A- Box With Spud - (Alexa Mini) 2 - Arri Alexa Mini 12v Power Cable - 4-Pin XLR to 4-Pin XLR 2 - Arri Alexa Mini 4” 15mm LWS Rods 1 - Alexa Mini CSP - 1 Compact Shoulder Pad 1 - Codex CFast Reader With USB 3.0 Cable 1 - Arri Alexa Ethernet Cable (KC 153-S) 1 - Arri Alexa Plus/Mini Camera Antenna 1 - Alexa Mini USB Memory Stick 1 - 19mm Bridge Plate - Wooden Camera 1- Pelican Case
  8. JUST LISTEDArri Alexa Mini Camera Package Hrs.- 4604 $29KArri Reconditoned The Sensor 5/21Licenses Included ARRIRAW & Anamorphic1 - Arri Alexa Mini PL Mount 1- Arri Alexa Mini MVF - m1 ML EVF 2 - Arri Alexa Mini EVF Cable 1 - Arri Alexa Mini MVB - 1 EVF Mounting Bracket 2 - Arri Alexa Mini Side Bracket (MSB-1) 2 - Arri Alexa Mini Adapter Plate (MAP-2) with LWS 1 - Arri Alexa Mini Bridge Plate Adapter 1(BPA-4) 1 - Arri Alexa Mini Center Camera Handle (CCH-2) 1 - Arri Alexa Mini Battery Adapter Plate (BAP) 1 - Arri Alexa Mini WC D-Box 2 - 15mm Iris Rods - Short 1-6” 1 - Arri Alexa Mini 24V Power Cable 1 - Wooden Camera A- Box With Spud - (Alexa Mini) 2 - Arri Alexa Mini 12v Power Cable - 4-Pin XLR to 4-Pin XLR 2 - Arri Alexa Mini 4” 15mm LWS Rods 1 - Alexa Mini CSP - 1 Compact Shoulder Pad 1 - Codex CFast Reader With USB 3.0 Cable 1 - Arri Alexa Ethernet Cable (KC 153-S) 1 - Arri Alexa Plus/Mini Camera Antenna 1 - Alexa Mini USB Memory Stick 1 - 19mm Bridge Plate - Wooden Camera 1- Pelican Case
  9. Mini LF For Sale $72K USD K1.0024074 1x ALEXA Mini LF camera body — Hours 1169 (as of 6/14/22) K2.0014533 1x Gold Mount Adapter Plate MkII K2.0018983 1x ARRI LPL Mount (LBUS) K2.0016936 1x ARRI PL-to-LPL Adapter K2.0024130 2x Codex Compact Drive 1TB (CA08-1024) K2.0020916 1x ALEXA Mini LF Multi Viewfinder MVF-2 K2.0023915 1x Cable VF (0.35m/1.15ft) K2.0023943 1x Cable VF (0.5m/1.5ft) K2.0023839 1x Mini Adapter Plate MAP-2A K2.0006140 1x Mini Viewfinder Bracket MVB-1 K2.73002.0 1x Center Camera Handle CCH-2 K2.0023546 1x Mini Side Bracket MSB-3 K2.0014957 1x Mini Side Bracket MSB-2 K2.0012692 1x Side Accessory Bracket SAB-1 K2.0014894 1x Compact Bridge Plate CBP-1 19mm K2.0013937 1x Rear Accessory Bracket RAB-1 K2.0023406 1x RAB-1 Clamp 2 K2.0006186 1x Rod Mounting Bracket RMB-3 K2.66255.0 1x 15mm Reduction Insert K2.75007.0 1x 3-Pin Power Cable K2.72021.0 1x 7-Pin to Ethernet 12” Dovetail Wooden Camera 1x SKU 271500 - A-Box for Mini LF Arri Codex Compact Drive reader USB-C (1st generation) Innerspace case
  10. Mini LF For Sale $77K USD K1.0024074 1x ALEXA Mini LF camera body — Hours 1169 (as of 6/14/22) K2.0014533 1x Gold Mount Adapter Plate MkII K2.0018983 1x ARRI LPL Mount (LBUS) K2.0016936 1x ARRI PL-to-LPL Adapter K2.0024130 2x Codex Compact Drive 1TB (CA08-1024) K2.0020916 1x ALEXA Mini LF Multi Viewfinder MVF-2 K2.0023915 1x Cable VF (0.35m/1.15ft) K2.0023943 1x Cable VF (0.5m/1.5ft) K2.0023839 1x Mini Adapter Plate MAP-2A K2.0006140 1x Mini Viewfinder Bracket MVB-1 K2.73002.0 1x Center Camera Handle CCH-2 K2.0023546 1x Mini Side Bracket MSB-3 K2.0014957 1x Mini Side Bracket MSB-2 K2.0012692 1x Side Accessory Bracket SAB-1 K2.0014894 1x Compact Bridge Plate CBP-1 19mm K2.0013937 1x Rear Accessory Bracket RAB-1 K2.0023406 1x RAB-1 Clamp 2 K2.0006186 1x Rod Mounting Bracket RMB-3 K2.66255.0 1x 15mm Reduction Insert K2.75007.0 1x 3-Pin Power Cable K2.72021.0 1x 7-Pin to Ethernet 12” Dovetail Wooden Camera 1x SKU 271500 - A-Box for Mini LF Arri Codex Compact Drive reader USB-C (1st generation) Innerspace case
  11. Arri Alexa 4k Super 35 Alexa 35 Production Set (19mm Studio) $76,500 PRE-ORDER NOW omar@raw-entertainment.com Includes: K1.0039373 1x ALEXA 35 camera body 10.0043678 1x ALEXA 35 Cine License K2.0018983 1x ARRI LPL Mount (LBUS) K2.0016936 1x ARRI PL-to-LPL Adapter K2.0034180 1x Balance Utility Dovetail BUD-1 K2.0023751 1x B-Mount Battery Adapter K2.0020916 1x Multi Viewfinder MVF-2 K2.0042857 2x Cable VF Right Angle (0.5m/1.5ft) K2.75007.0 1x Camera Power Cable Straight 2m/6.6in KC -50 K2.0024101 1x Power Distribution Module PDM-1 KK.0041533 1x Production Support Set - Top KK.0041534 1x Production Support Set - Side KK.0041535 1x Production Support Set - Bottom Note: This set does not include recording media, media dock/reader, batteries, or lenses, which should be ordered separately. Omar Alarian COO / Film Producer IMDB: www.imdb.com/name/nm7440967/ Raw Entertainment www.raw-entertainment.com Email: omar@raw-entertainment.com Youtube Channel: youtube.com/c/RAWegypt Instagram: instagram.com/rawegypt?igshid=YmMyMTA2M2Y= Latest Feature Film Trailer Welad Rizk: youtu.be/KbuuzxTxhP4 F991CEDC-69E7-485F-98A4-FF1B65050663.webp
  12. Arri Mini LF 2,000 Hours $76,500 NEW PRICE HURRY BEFORE ITS GONE omar@raw-entertainment.com Omar Alarian COO / Film Producer IMDB: www.imdb.com/name/nm7440967/ Raw Entertainment www.raw-entertainment.com Email: omar@raw-entertainment.com Youtube Channel: youtube.com/c/RAWegypt Instagram: instagram.com/rawegypt?igshid=YmMyMTA2M2Y= Latest Feature Film Trailer Welad Rizk: youtu.be/KbuuzxTxhP4 Camera Package: Power Cable Straight KC-50 2m (K2.75007.0) Bottom Plate 12" (300mm) (K2.0015896) V Mount Power Splitting Box Mk II 15mm Reduction Insert (K2.66255.0) Rod Mounting Bracket RMB-3 (K2.0006186) RAB-1 Clamp 2 (K2.0023406) Rear Accessory Bracket RAB-1 (K2.0013937) Compact Bridge Plate CBP-1 (K2.0014894) Mini Side Bracket MSB-2 (K2.0014957) Mini Side Bracket MSB-3 (K2.0023546) Center Camera Handle CCH-2 (K2.73002.0) Mini Viewfinder Bracket MVB-1 (K2.0006140) Mini Adapter Plate MAP-2A (K2.0023839) Viewfinder Cable VF 1.5ft (0.5m) (K2.0023943) Viewfinder Cable VF 1.15ft (0.35m) (K2.0023915) ALEXA Mini LF Multi Viewfinder MVF-2 (K2.0020916) 2 x Codex Compact Drive 1TB CA08-1024 (K2.0024130) ARRI PL-to-LPL-Adapter (K2.0016936) ARRI LPL Lens Mount ALEXA Mini/AMIRA (K2.0018983) ALEXA Mini LF Camera Body (K1.0024074
  13. I wrote a little bit about the process of pushing the ARRI Alexa to 2500 ASA for “Made in Oslo” which is competing for the Golden Nymph at the Monte-Carlo Television Festival next month. Thought some might find it interesting. http://johnerling.no/blog/2022/5/6/kg63lcplguxcirlpbxu5se2p0lffdm
  14. Red Komodo (Stormtrooper Original White) Camera Package Arri 40mm T1.9 Master Anamorphic Lens PL Like New Condition NEW Zeiss Supreme Prime 150mm T1.8 Lens Arri Signature Prime Lens Set Includes: 18/25/35/47/75/125mm Arri 2 Perf Movement For 235 Camera Includes 2.39 (Penciled Format)GG Arri Alexa Mini LF Camera Package Arri Alexa Mini Camera Package Look Library License Hrs-3900 (Accepting Offers)
  15. Hey all. Happy holidays and happy new year. 2020 is now hindsight (thank god). First off, I have a lot of reverence for what you guys do. Many of you on this forum I'm a huge fan of, so it's an honor even in a small way to be writing this. So thanks for listening. Overwhelmed by choice overload. I tend to be a little too good at matching pros with cons and vice versa, so this amount of indecision (and the self-awareness about the indecision) has been difficult. Hence the need to reach out. I'll cut to the chase since I don't want to waste anybody's time. I'm looking to own a camera, thats what this is about. I've got enough $ to own a Komodo production kit with tax. I'll outline choices at the end. The purpose is for me to just feel empowered to get out and make films and work as a director / operator full time versus a owner / op who just rents his camera out to DP's other peoples stuff primarily. I do that for money occasionally the same way I color or edit or crew for people occasionally but my full step forward is towards going from one project to the next on my portfolio. Until then, here's a lot of ridiculous background and way too much information. I'm a filmmaker who prefers self-operating, but mainly for the intimacy and connection with the actors and for how it helps me concentrate, not because I consider myself a proper image-maker at heart, like I'm sure some of you do. My passion is mainly storytelling, not gear, though I'm well capable of digging into deep rabbit holes of technical details if it means getting exactly what I want when I want it. Background: age 25, Burbank-native, editor primarily (that's certainly where most of my superficial skills lie) I'm experienced in that I've made shorts since I was 10 years old. My first feature did get distributed by Gravitas and won a lot of awards - so I'm not totally untalented. But it was exhausting getting there. And in general, I hate the word "content" and have no intention of being a "content creator" at all, ever. Just want to keep telling stories in the way that feels truest to my heart, and make the strongest step forward. Life doesn't make a lot of sense when I'm not making films. And I need to make films right now. What's been hard is not having anything to express myself with. Like many of you, I'm relegated to primarily being at home, needing to channel energy. I've got stuff to shoot, I'm always writing and working with friends on writing films. I told myself I will just rent, that the entirety of hollywood infrastructure is built upon the idea that you don't own your own gear - that its better to just own lenses, which I still do. Logically, I still believe that. Emotionally though, whats been hard is not having that tool to express myself with. I know that theres an argument to be made for todays infrastructure being different from shooting 10 years ago, that being an owner operator now especially as a young person is fairly valuable. I also know its the story, performances, composition, movement, and lighting (in that order) that makes it, not the gear. Furthermore, Steve Yedlin's right. Camera's today are really just data collection tools. Even film cameras are glorified boxes the film goes through. I like being a colorist and relish the freedom it gives me. But its almost a separate part of my brain. The part of me on set thats connected to the actors and the story, that's the part I wanna grow. But still for me, film nearly always looks better. I have been fooled a few times, but only when they shot on anamorphic lenses. Linus Sandgren isn't wrong about the distortion of those being almost necessary in a twisted sort of way. His work, plus Maniac, 10 Cloverfield Lane, and a few others I find truly exceptional. If I'm to collect data, then the data I actually care about (which makes film superior) is the motion cadence of a global shutter, the ability to sandblast highlights and still have it look cool, and the ability to oversaturate or shoot in harshly oversaturated environments. That's the data set I'm looking for in a camera to own. Recently wrapped up a short on the Red Komodo which I made for an AFI application. Super happy with the image and versatility of R3D, which is inspiring in how it almost dares you to challenge it and push it to its limits. I love that you can beat the tar out of it in post and it never bands or splotches or falls apart. We even did a filmout from the R3D files to a 16mm sized portion of the negative at Fotokem, just to see how close Komodo could get to film, since its the first camera with films dynamic range and a global shutter. Astonished by the results - so much so I genuinely think I could film out everything I've ever done and get the best of both worlds (Most of my heroes are people who utilize the best of both, or create an invisible third option by kicking down the door) Still, something about shooting digital with that camera did not feel right to me. Could have been the stress of mounting COVID productions in general being a huge hassle, but also (while I appreciate lightweight cameras) I've never been a fan of feeling like I'm holding a DSLR. (Though BOY is it nice when you wanna shoot illegally. Had the Canon C70 existed before, my feature would have been completed considerably faster.) Tested the Varicam LT for the short first because that's been my favorite look on digital (perfect mixture of RED's cutting edge and Arri's painterly qualities) but weirdly, wasn't as good as Komodo, was heavy, and was bothered by the rolling shutter on that as well. Which was disappointing, because shooting 3200 iso in camera and NDing for exposure compensation is the closest I've seen to film grain yet. Plus Varicam colors are more Eterna than Vision3, and I'm definitely more of an Eterna guy. I've used lots of cameras, but owned only 2. HVX200 was the camera I learned on and in some ways it spoiled me. Got used to global shutter and undercranking & overcranking and timelapse photography and thick viewfinders and shooting to tape and it's been hard finding cameras that feel that level of satisfying. Owned a c100, but was never happy with it. Most of shooting my feature was about pushing that thing to its absolute limit in every conceivable way (to the point it stopped turning on altogether). After that, I owned the S1H for a bit, mainly because of my history with the HVX200 & how much I liked the Varicam. Sold it. Got WAY too into the whole idea of kitting it out to oblivion, trying to turn it into something its not - and became unhappy. Image was lovely but HATED the rolling shutter. Any readout 15ms or greater seems similar to the Haas effect in acoustics, where you don't truly perceive it until its in the 15ms to 30ms range. Though our eyes are way sharper (hehe) than our ears, so its probably more like 7ms or greater (at least for me). I've used lots of cameras, owned only a few. Mainly, the c100 Mark I, and the S1H for about 6 months. Unhappy with both. As badly as I want to like the EVA1, the image is beautiful, its the only camera I've ever used which actually enrages me ergonomically. That horrible plastic body and screen and clickless dial which makes menus impossible to navigate. Blackmagic is a fascinating player in the scene, and has the best menu system ever but I hate how every college kid or person my age uses them. I know you can color them to look however you want but I hate having to give myself so much to do, and I hate their lack of quality control. My choices so far have boiled down to these 3. I'm discounting options which I believe will be useless in 10 years. Komodo seems of all the new cameras to be the one best primed for the test of time, and the Alexas proven her stripes, and film, well, film is film. I want this to be (if at all possible) the last time I purchase a camera, at least for a decade. I also hate how every manufacturer uses the word FUTUREPROOF. 1. Red Komodo. Have the experience with it, love the image, and of course - the global shutter innovation makes it (to me) the most exciting digital camera in the world at any price level. I know people do get hired because of the Red bias, too, which is nice. Unless I get super creative though, it's gonna be forever till they actually get in stock. But: I can afford to get a decent run and gun kit, and after the initial charges, I'd never have to pay again to create, and I'd have the closest approximation to film motion cadence on a digital sensor. With that ND wheel from Kippertie it'll be great. Genuinely, I do feel its the ultimate tool for someone my age in the year 2020, if properly utilized (and yes, utilized in a way that's different from REDs design purpose). To me, it seems like Reds Mini. The Alexa Mini was a drone camera that became an A cam, too. I don't like having to lean down and look at that tiny screen, but part of me also feels this may help my compositions, and force concentration on framing better. I know I do function better with some limitations. All in all, I love the Komodo in spirit, mainly because it appeals to the more "fly by the seat of my pants" part of me, the one that believes in taking risks and stuff. The young punk, lol. 2. Alexa Classic. I don't need the resolution (2K's my favorite) and despite me hating the vanilla-ness of that choice - there is part of me that always thought, wouldn't it be cool to own that camera and really do some more extreme photography? Overexpose, underexpose, get grainy and nasty - i do have a little devil in there somewhere that feels he would enjoy that. Plus, its the standard. Menus are easy. Love the EVF. Much closer on paper to my experience with the HVX200 than the Red Komodo. Theres an appeal in that to me being that its the closest thing in digital to cutting out the bullshit. I've heard DP's articulate how that camera more than any other just allows them to focus on their creativity and their storytelling, and not worry about anything else. I do prefer the Varicam look over the Alexa, and the built in ND's. But the rolling shutter bugs me. And an LT is pretty hard to come by used. So a classic EV seems the most compelling option in the realm of "can't go wrong". But theres self-conciousness about wanting something so "safe" 3. Shoot film. My favorite look, the look I grew up on, is Super 16mm. I dream in 16mm, honestly. Specifically, the format from the 90s forward. Nearly all of my style comes in some way from Super 16mm or super grimy 35mm. Especially in 2020 with the advances in scanning I find the look to immediately be more like the 35mm of the 1970s. It's also the only format I've never seen any successful digital emulation of. Closest was operation avalanche. And that's because they actually filmed out, so it WAS 16mm. I know there's Arri SR's for decent prices, and CP16s, and Eclairs, and despite that essentially being a form of sinking myself into an endless money pit, buying into a dead technology, etc - I've also found more community talking to film people than any other group, and theres a general focus on creativity that seems harder to find in digital (though I know it exists). Only shot on a Bolex and a super 8 camera before so I'd be a huge noob. But I loved doing it. And unquestionably I know it would force me to grow the quickest. I'm attracted to the romance of it, and the idea of proving myself on it doesn't seem scary. What I know I'll miss is getting to do multiple takes with the actors, because I adore that experience of discovering things with them in the process, and not just shooting coverage. (BTW, I loathe coverage. I hate it. ) Nearly everyone I know tells me its a terrible idea to own a film camera and shoot on film. I can't logically disagree, but emotionally I've been torn. One of the best arguments I've ever heard for shooting film ironically came from Michael Cioni, talking about how film still is the only capture medium with a true 1:1 quality ratio (at least when captured correctly.) That idea of pure timelessness does quite a lot for me, but I'm very much not a believer in the sake of nostalgia for the sake of nostalgia. Filming out to a grainier portion of the intermediate stock looks more filmic than any filmout I've ever seen, and still preserves the spontaneity and magic of film, without any of the limitations or sacrifices. Especially if you shoot 35mm stills on set with the same lenses using Vision3 stock, you've got access (roughly) to the filmic color space that would be present on set, too, not just that of the final "patina" or "texture". Grain is grain, its cool but not everything. Color to me is everything. And for the record, while I'm on the subject of film, the only place digital always falls short for me is outdoors. Something about the harshness of the sun and the slightly blown highlights and halation that comes from shooting exteriors on film always feels like my own eyes. In LA too everything is always too sunny, I like how in film, theres almost that flickering red that you get in your eyes when you've looked at the sun too long, I love how film behaves a similar way. To me, so much expressiveness comes from being able to accurately capture the environment. I love how Elswit shot digital at night and film during day. If I could, I'd do that every day for every shoot, until a solution exists that trumps either of them in isolation. But again, too much wishful thinking doesn't do anyone any good. Anyone who made it this far, I'd love to know your unsanitized thoughts. There's no wrong answers, nor is there a perfect choice (as much as I'd like there to me). What I'm looking for is the right set of compromises, Thanks in any case for listening. Hope you're staying safe out there. Soren
  16. Selling a small Alexa XT Plus package. Price: $13,250 5902 Hours PL Mount // Gold Mount // Serial #6522 Located in Los Angeles, CA for pickup or no-contact local delivery. Will ship within the USA via Fedex at buyer's expense. The Alexa XT enables 16:9, 4:3, and Open Gate modes, perfect for anamorphic lensing. It is capable of internal recording up to 3.4K Open Gate ARRIRAW and 3.2K ProRes 4444 XQ. The camera is in good working condition. The body shows cosmetic wear as pictured. The exterior of the case shows wear and tear from use and the interior foam is worn. All licenses: Open Gate, ARRIRAW, Anamorphic, 120fps High Speed Sale includes: (1) ARRI Alexa XT Plus Body (1) BAB-G Gold Mount Battery Adapter (1) EVF-1 (1) Short EVF Cable (1) VMB-2 EVF Mount (1) CCH-1 Top Handle (1) SP-4 Shoulder Pad (1) BP-13 Bridge Plate (1) Side Cheese Plate (1) 12" Dovetail (1) A&J ATA Travel Case Does not include media. I may be able to help you source XR media if you need it. Contact maxgoldbergdp@gmail.com for more photos or questions!
  17. Beasts Of No Nation has just been released worldwide on Netflix today and will be in a few selected theaters in the US as well, I've seen it this morning and found it to be absolutely outstanding. Contrary to Fukunaga's previous projects (except his Sleepwalking In The Rift short shot on a 5D), this wasn't shot on film, but rather, as he said it in an interview on Hitfix, on the Alexa with Panavision C-series lenses, he talked about shooting it on super 16 at first, but there were no labs around and it would have taken a week for them to get the dailies back and it was just impossible, so he chose the Alexa. I wanted to know what you guys think about it, it looks absolutely gorgeous, very naturalistic, with those characteristic anamorphic flares, blue streaks, and barrel distortion, the Panavision anamorphic look, it also had some beautiful bloomy qualities on whites in one scene in particular, also, Fukunaga not only wrote and directed the movie, he also DPed and operated the camera himself as his camera operator pulled his hamstring one day in. Quite the astonishing feat ! See this movie.
  18. Library Look license included. Price : $39,000 US Below is the list of items included. K1.0003873 Alexa mini body Hours : 3886 K2.0003216 Titanium PL LDS Mount K2.0005861 Viewfinder K2.0008135 View finder cable (2Pcs) K2.0007091 Bebob V-Mount Battery Adapter for ALEXA Mini K2.0006960 Transvideo Starlite hd5 Mon/Rec KK.0005677 UBS-3 Handgrip Set K2.0031436 Bridge Plate BP-8 K2.0006334 2x Lightweight adapter plate for ALEXA Mini (MAP-1) K2.0006347 2x Adapter plate with rod support for ALEXA Mini (MAP-2) K2.0006348 2x Side bracket for ALEXA Mini (MSB-1) K2.0006352 1x Bridge plate adapter for ALEXA Mini (BPA-4) K2.0006186 2x Rod mounting bracket (RMB-3) K2.66255.0 2x 15 mm Reduction Insert K2.0006140 1x Viewfinder mounting bracket for ALEXA Mini (MVB-1) K2.73002.0 2x Center Camera Handle, CCH-2 K2.66252.0 1x Support Rods 340 mm (13.4 inch), Ø 15 mm K2.0006495 3x CFast 2.0 Card 256 GB K2.75007.0 1x Power Cable Straight (2m, 6.6 feet) KC-50 K2.72021.0 1x ALEXA Ethernet/RJ-45 Cable (3.00m/9.8ft) KC 153-S K2.0006170 1x EXT-RS Adapter K2.0006471 1x Battery Adapter Plate BAP-1 K2.0006990 2x Battery Adapter Plate BAP-2 K2.0006807 1x Shoulder Pad CSP-1 K2.0008408 1x Low bracket for CSP-1 K2.0001242 1x CFast 2.0 Card Reader (USB-3) Pelican 1620 Case
  19. If anyone has one they can sell please email pricing and details to sales@broadcastsolutions.com.
  20. ARRI ALEXA XT PLUS 4:3 FULL PACKAGE (Open Gate includes Codex XR Media Mags, EVF, Reader, More) S/N 8580 FS: Alexa XT Camera Package (Hours: Between 1000 and 2000 - will update on exact hours when returns from ARRI Blauvelt) Licenses: ARRIRAW, 16:9, 4:3 License Super Speed and Open Gate License High Speed License Media: (2) Codex 512GB Capture Drives XR (1) Codex USB 3.0 Capture Drive Dock Components: (2) Codex ARRI BPA-13 Bridge Plate Adapter, ARRI Bridge Plate Adapter, ARRI ALEXA Center Camera Handle, ARRI ALEXA Electronic Viewfinder EVF-1, ARRI Viewfinder Mounting Bracket (Tube), Anton Bauer Gold Mount Plate, ARRI Viewfinder Cross Pipe, ARRI Wedge Adapter WA-1, ARRI LB-1 Leveling Block, ARRI Alexa Shoulder Pad, ARRI ALEXA Cable 5P-XLR-M TO (Y) 2x3P-XLR-F, (1) 2-Pin ARRI Fischer to XLR Power Cable (3) EVF Cables, (2) 19mm 18" Metal Rods, (2) 15mm 12" Metal Rods, Tilta 12" ARRI Style Dovetail, ARRI EVF Extender, ALEXA XT Custom Case Price: $14,500
  21. ARRI ALEXA MINI KIT $41,500 ALEXA Mini Body Hours-650 Look Library & 4:3 License MAP-2 x 2 MAP-1 x 1 CCH-2 BPA-4 MSB-1 MSB-2BAP-1 MVB-1 View Finder V-Mount Adapter Plate EF Mount PL Mount 2 x 256GB Cfast Cards 15mm Rails Wooden Camera A-Box Pelican 1620 Case Pelican 1020 Micro Case
  22. Alexa Mini Kits Available (2) 1. Hours 513 + ARRI Certified w/ Warranty (ARRIRAW, 4:3, Look Library) Price $ 52K 2. Hours 1,235 (ARRIRAW, 4:3, Look Library) Price $46K Includes Abel Cine Inspection Items below included with Body and MVF (2) ARRI MAP-1 (1) ARRI MAP-2 (2) ARRI MSB-1 (1) ARRI RMB-3 (1) ARRI CTH-1 (1) ARRI MVF Mounting Bracket (1) ARRI Gold Mount Plate (1) ARRI MVF Cable (3) SanDisk Extreme PRO 128GB CFast 2.0 Card (1) Pelican CFast Card Case (1) CFast 2.0 to USB-C Card Reader
  23. Need to Purchase : Alexa Mini w/4:3 & Raw License. Please email details to sales@broadcastsolutions.com
  24. Hello Everyone, I would like to introduce myself as a local ARRI Rep. here on the West Coast (out of the Burbank Office) working in the Technical Camera team. I just wanted to make a post that although things are a little crazy at times like these (and bit scary right) we are moving to a lot of online demo's both 1:1 for customers and in groups for our rental house customers. We have a lot of people that have more time on their hands and want to get more in depth knowledge about our gear and we want to help people stay in the "know". In these online demos we cover all sorts of topics based on whatever you as the customer are interested in. We are happily answering any questions you might have about our camera products (not just the cameras themselves but also our vast Lens portfolio but also our mechanical/electronic camera AKS) or even just listening to/discussing any feedback you might want to share with us about any of our products. We have a wealth of knowledge (w/ visual presentations) we are happy to share to help you get the most out of the tools we make. We have lots of information about topics like "Shooting Large Format", specific presentations about the ALEXA MINI LF, as well as "nitty gritty" detailed tips and tricks for getting the most of the wireless focus tools we make like the WCU-4. If anyone reading this would be interested in any 1:1 online demo sessions with myself or any of the other ARRI staff (like our Cinema Lens Specialist - Art Adams) I can point you to the right person depending on your region and interest. You can just reach out to me and let me know what you are looking for and we can set something up that works for you. I can be reached at: chagen@arri.com Thanks. - Chase Hagen
  25. Hi, I have a new Alexa MiniLF Ready-to-Shoot V-Mount Package for sale. (NIB/0hrs). Alexa MiniLF Body Ready-to-Shoot V-Mount Kit Codex Reader $73,660 USD total Please email at nli@q-films.com or PM if interested. Thanks, Norm
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