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Pretty much as the topic states. I've never used the FF5 with the CN-Es but I need to know if it can clear them. I appreciate any help I can get. Thanks!

Alrighty, looking to purchase a Super 8 camera to get the experience of producing something narrative through the film medium. Ive been shooting alot of HDSLR narratives...but i'm excited to have an opportunity to shoot and edit on film, and really feel the value of each and every frame. Saying that, I realize how niche Super 8 is. It will be expensive, so i've determined that I will try shooting and developing the film myself, editing linearly, and projecting to view. If I do decide to digitize my media, where is the cheapest to get 1 or 2 carts developed and have decent 1080p scan. I live in Ohio, so centers in New England would be better. On to cameras... I want to get the cleanest image I can from Super 8, and generally want to treat the process as much like shooting 16mm as possible. That means that I will try to manually expose every scene I shoot...how consistent is that to do compared to HDSLR shooting? Also, whats the deal with stocks? How does the 100D differ from the 200D? Where does asa rating come into play? Generally what are some tips for dealing with tri x? Finally, which camera would be best to invest in? I've been seeing the Nizo S800 and S560 models and Canon's 518sv models. Are these "good" cameras? Which has better glass? Are there any that are gonna be better/more bangy for bucky for what I want to be shooting (Alot of tripod)? Also, I am kinda mystified by the price differences between cameras. Does it all come down to features, because it certainly appears like the huge price differences have to be coming from somewhere else. Perhaps manufacturing standards? Thanks for any responses...I know I have a lot of questions, and I really appreciate any help that you can give me:) Looking forward to jumping in, Jackson Clark

Hello everyone. Six months ago, I arrived in Los Angeles from Moscow, where for 6 years he worked in television. Now actively learn the language and do event videography. Much before moving sold, so not removed on an expensive camera. I would like to get acquainted with working in California. My work can be viewed:

So I'm on a project that is based around multirotor helicopters. Needless to say I have a lot of gopro footage coming my way. I was wondering if anyone had any advice or leads to good resources on matching gopro footage and cinema log footage in the grade I would be much appreciated! Here is what I've been capable of so far. Ignore the last 18 minutes it's black video there was an encoding error. http://youtu.be/Isge70aoLtE

Selling the Canon 1D Mark IV w/ PL Mount. I am using the Epic now more so I will no longer be needing this. Wanted to see what offers I got on here before I went to Ebay. No set price, so shoot me an offer. Thanks

I have been having an issue when color grading lately with the C300. After the grade, most blacks that are below 40 IRE seem to be artifacting like crazy on youtube. Whereas I don't see this from other people's work. Ive tried these encode settings in adobe media encoder, Quicktime MOV, h264 55'000 kbps 1920 x 818 Quicktime MOV, h264 35'000 kbps 1920 x 818 Quicktime MOV, h264 25'000 kbps 1920 x 818 Quicktime MOV, Prores 444 1920 x 818 But all of them just aren't cutting it and I dont know what I'm missing. My blacks are generally not brought down to 0 because the director wants a low contrasty look and some scenes were shot very dimly with only one LED to light the scene. On the other hand, we've lit darker scenes with several 1k's and Litepanel LEDs and while the highlights and midtones held up the blacks still artifacted hard. Here is an unlisted link to a test video I made. Please don't share outside of the community. https://www.youtube.com/watch?v=4d3WQT4hcN4 Any and all info would be much appreciated!

Hello all! I thought I would put a thread up to inform you about new products as they are added to the site: http://mediablackout.net I specialize in making custom cables and accessories. For enquires about custom work, you can contact me at alan@mediablackout.net

Hello, I've recently purchased a Canon auto zoom 814 (not the electric version) with two rolls of Ektachrome 160 from Ebay with a guarantee that it was completely functioning. I loaded in the correct voltage Wein Cell batteries for the exposure meter and AA batteries and decided to load in one of the rolls of film to shoot a test roll. I made sure I put the cartridge in the correct way and securely, and when I pressed the shutter lever it seemed as though it was filming. However, when I checked the footage counter the little needle didn't move at all, making me worry that none of my film is actually being exposed. I tried opening the compartment and taking out the cartridge and putting it back in, which I thought worked because I swore the needle moved a little when I pressed the lever, but I went out today to shoot and the needle didn't move at all the entire time I shot. Could the dial just be broken and the camera actually be exposing the film or is there some other issue with my camera/ none of the footage actually getting exposed?? Thanks!

Would it be a good Idea to pull out my student loans to buy the new red scarlet dragon? Currently I'm in my 4th of year of college( it's going to take me 5 years to graduate). I go to a small school in Missouri with 12,000 students and the film department at the school has been weak and disappointing thus far. So almost everything I know about film making and cinematography has been stuff I've had to learn on my own I started cinematography last year and I'm still learning lots of new things about filming/ color grading weekly. 8 months ago I was shooting all my videos on a gopro, then I decided that I need to upgrade my gear if I want to seriously pursue cinematography so I bought a Blackmagic Cinema Camera. Now I want to upgrade my gear again but this time I am going for the best. So I decided to save up and get the Red Dragon Scarlet. I have the great fortune of having College completely paid for. I am really good at track and field so my athletic scholarship pays all my fees and covers my costs of living. So my plan is to just pull out all my student loans for 2 years so I can get a Red Dragon. Personally I don't like having anything hold me back in life. My mindset from playing sports so long has made me become obsessed with the things I do. For the past 3 years I've been able to jump higher and further than everyone in the state of Missouri and I get mad if anybody beats me or get close. I want to aim to be the best at cinematography also. I get angry and frustrated when things are not perfect or close to perfection on video. Ultimately I want to know if this would be a good way to turbo start and give me a great beginning to a life and journey of being a cinematographer? The last video I shot:

Hey everyone! I'm new to these forums but just wanted to get some feedback for a fan made music video I made for the Thom Yorke song Atoms for Peace off of his solo album The Eraser. Any and all feedback is welcome! And feel free to share with anyone if you think its decent! Thanks guys, Kevin

Subal CD5 MII for Canon EOS 5 D MK II FOR SALE $3,000.00 as is, shipping not included. Minimal use. Great condition. Used in conjunction with production of Academy Award-Winning Director Louie Psihoyos' (The Cove, 2009) next film on mass extinction, "6". Trailer here: Posted here to wetpixel.com first. Will post on eBay tomorrow. Please contact daniel@opsociety.org with inquiries. Happy to send more photos and/or details. More gear on sale coming soon!

I am executing a 3-minute unbroken tracking shot for a music video using a Canon 5D Mark III and a MoVI M5 house with a ring handle. The music video takes place at a house party moving from interior to exterior. Plenty of choreography in each frame and following two main characters. I want depth of field but with soft focus so as to limit the use of pull-focus. Does anybody have an specific suggestions as to what lens would be best for this criteria? I'm thinking a fixed lens like a 35mm f/1.4 Zeiss or a Sigma 30mm f/1.4 but those are my only leads. NEED HELP. Thanks.

Hello fellow cinematographers and film makers! If I could borrow 3,750 frames at 24fps of your time to review my new reel. It would mean a great deal to me if you could offer some critique afterward. I'm in the middle of a huge push to take my work and career to greater quality and new opportunities. Any feedback would be greatly appreciated. I would be happy to return the favor. Thank you and happy shooting! Alex www.alexfuerst.com

I am wondering if anyone has shot anything with the Canon C100 dual pixel AF upgrade? Docs? Shorts? Even weddings or events? Anything? I'd love to see some links and hear about your experience with it. Cheers, Ryan

Hi There, I would like to share with you my first job as a DOP. This was a short film for the BFI 48hours SCI FI Challenge. We where given a title, an action and a line of dialogue on Saturday morning around 11am and had 48 hours to finish. The film was filmed, edited, scripted and finished in 48 hours. This short was filmed using a Blackmagic Production 4K Camera with 13 Prime Canon EF lenses ranging from 8mm to 300mm. Let me know your thoughts... Enjoy it.

Canon EOS 5D Mark II 21.1 MP Digital SLR Camera - Black

Hi, I'm after a Canon Zoom DS8 I can canibalise for spare parts. If anybody has a broken down one they want to get rid of for a few pounds and is based in the UK let me know. A 16 mmm scoopic might also have the parts I want. Thanks

I have various S8 Canon AF310 : 8.5 wide angle is too short Beaulieu 6008 Pro : Heavy for travel. Chromatic abberation in tele position Canon 1014 xl-s : too heavy and I have not very sharp images in low light Sankyo Em60XL : chromatic abberation in "tele" position but compact, 24fps !, good in low light. Tremor when I Took over this camera Sankyo ES 44XL : 18fps only ! but sharp Nizo 481 : viewfinder dark in low light, I have special cell but I dislike this system. The silver aspect is good for this camera. Canon 514 xls : I don't know I'm traveling tomorrow in Thailand and I don't know which to take, I'm looking for the most sharp, light weight. I will move a lot. I have Vision 3 50D and 200T, 500T Thank you for your quick help ;)

Whether you are considering your options for you next TV Commercial, Music Video, or Corporate video you owe it to yourself to explore the 4k camera options. Everyone would like the best quality. However, budgets can limit it. Many might be surprised to find out the cost that goes with the 4k cameras is not that prohibitive. It is definitely true, especially now with newer, better, and less expensive cameras coming on the market. A warning, just because you have one of the 4k cameras, it does not mean the final product is going to be substantially better. Lenses, lighting, and your camera operator all determine the quality of the final piece. You must have the proper gear and crew to realize the quality increase. With that said, here are some benefits to going with a 4k camera. First, what is 4k? The actual term is Ultra High Definition (Ultra HD) as oppose to just High Definition (HD). A typical HD Camera shoots in 1920 X 1080 pixels (or close to it). The Red Scarlet, a popular Ultra HD camera, shoots in 4096 x 2160 pixels. To sum it up, an Ultra HD Camera gives you 4 times the pixel output of an HD Camera, which means it is far more detailed and produces a sharper image. As another point of reference, the now almost completely irrelevant Standard Definition (SD) Cameras shoot at a resolution of 720 X 480 pixels. Plainly put, Ultra HD is better than regular HD, much like HD was better than SD. This makes it easier to conclude that you will see major quality improvements. Here are other reasons to consider 4k: Future proofing your content – The future is here with Ultra HD TVs already on the market. They are currently a little pricy, but you can expect prices to come down and more options to come on the market. Ultra HD players are currently being developed (no standard like Blu-ray), while YouTube and Netflix are already capable of streaming Ultra HD content. Expect broadcaster to follow suit. Even 4k smart phones are being developed like the Samsung Galaxy S5. Reframing – Since most of the final video projects get down converted to HD, you'll have a greater ability to zoom in, crop, and manipulate your footage without degrading the quality. If you want the final video in 4k, you lose the value of this method, unless you are shooting with a camera that has a resolution equal to or greater than 5k. Color Grading Made Easier – When cameras record highly compressed images in camera that often comes with the drawbacks of clipped highlights, crushed shadows and what is considered a "baked-in" look. Once the footage gets to post production, this can mean big problems. With 4k+ RAW files, you can make your own color choices from the source data, instead of trying to change colors that are baked into a .mov file. This can lead to much better results. Green Screen Keying - With four times the data, your keying software should have an easier time differentiating the green pixels you want to key from the precise edge of the talent. It also makes mismatches between background and subject more obvious and motion tracking easier. There's a reason why chroma key shots are often done with UHD or higher cameras even if the rest of a movie is captured on a different (lower resolution) format. There are more benefits I can bring up about 4k, but there are also some negatives such as price, storage, and the need to upgrade equipment to support it. Capacity and processing speed has doubled approximately every two years since the publication of Moore’s Law in 1965, some argue that it doubles faster. This means that technologies will always chase each other and that a data stream that may seem very difficult to handle today may be a smooth, simple process tomorrow. Overall, if you want to give your video, movie, or commercial a longer shelf life or you just want to keep up with the quality output of your competitors, then waiting to upgrade is not an option. Ultra HD Productions LA Ultra HD Productions Las Vegas Ultra HD Productions San Diego

Selling a used Canon EF 70-300mm F4-5.6 lens for 450$. Shows little signs of use (see the pictures for details). Works like new. Possible trade for other filmmaking gear with a similar price.

Selling a used Canon EF 70-300mm F4-5.6 lens for 450$. Shows little signs of use (see the pictures for details). Works like new. Possible trade for other filmmaking gear with a similar price.

Hey all, Sadly, I'm parting with my Canon 1014 Max 8mm sync sound camera and all accessories. Thought I would let this crew know. http://www.ebay.com/itm/261373903953?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 No reason other than monetary, I love(d) this camera. Ask questions through eBay as I'm more likely to respond there. Sorry mods, I've posted in marketplace but this is such a niche camera I thought it would be okay to post here.

This was a test conducted a while ago but thought you might find it useful here. Compared in this shootout are the Leica Summilux-C, Zeiss Master Primes, Zeiss Super Speeds, Zeiss CP.2 Super Speeds, Canon CNE Primes, Canon K35's, Optica Elite Primes, and Luma Tech Illumina Primes. Lenses are compared wide open and at t2.8. All samples are available for download in jpeg and in R3D. Have a look and hope it's useful to you. http://matthayslett.com/salt-iii-high-speed-lens-shootout-wfo/ "Mission Statement: The purpose of this shootout was to directly compare lens sets on an identical setup. Our goal was not to “test” the lenses, rather provide you with all the info necessary to evaluate the lenses and decide what works for you. These lenses cover a wide range in affordability and availability. This shootout was never meant to prove which set is better than the other. We hope you will see that any of these lenses could be used to shoot quality material and have been for years. We attempted to get Cooke 5i’s for the test but unfortunately none were available at the time. Some of the lenses have slightly varying focal lengths so understand field of view may appear slightly different (i.e. 24mm vs 25mm, 75mm vs. 85mm). Please also keep in mind the slight differences in exposure since we were working with lenses rated between T 1.3 and T 1.5. No matte box was used to insure there was no vignetting or concealing of flares. All images have not been adjusted or corrected anyway. A white balance adjustment is all that has been made. We all know these lenses perform well closed down to a T 2.8, so this shootout was designed to push the lenses to their limits wide open. Most of the flaws visible wide open disappear once stopped down(examples will be available for download)." Projection: The below results were attained using the lens projector at Duclos lenses that is set up in it’s own room, specifically for the purpose of evaluation of optics on an even playing field. The same projector and screen were used for all lenses and the distances were maintained for the equivalent focal lengths (3′ for wide lenses, 6′ for teles). A loupe was used to determine resolution in line pairs per height and width for the Center, Field (middle) and edge of the frame based on a super 35mm motion picture frame. All of the findings below should be interpreted as applying only to the S35mm frame in which the lenses are designed to cover. Numbers are specific to each lens wide open. Lastly, although we did measure the lenses in line pairs this is an observational procedure and rather than deal with the political ramifications of publishing these absolute numbers we’ve decided to present them as they apply to the S35 sensor in the Epic and Scarlet. The data presented below is such that even measurements with a “Fair” grade will, for the most part, resolve the full resolution of the sensor. Notes: Where you see notes in the table below represent specific observations, if a field is blank that means that the lens performed average for that metric. If it was either better or worse or particularly apparent it was recorded. Perspective: Keep in mind these are purely technical numbers and do not speak to the cinematic look and quality the lenses exhibit in a real world scenario. Duclos Evaluation PDF (Click to download) Torture Test: This shot was designed to push all the lenses to the edge. If you plan on using these lenses wide open you need to view them at their worst. This test will show the differences in Resolution, CA, Contrast, Flare Characteristics, Bokeh, Breathing, Distortion, and Color Rendition. The test was performed both wide open and at T 2.8. For each focal length increase, the camera was moved back to maintain a similar frame for every lens. The test was captured with the Red Epic (5KFF, 320ISO, 23.976fps, 3:1 compression, 3200K) due to the high resolution sensor and ability to change lens mounts in a minute. Shutter speed was used to control exposure. Focus was confirmed for each lens in a 3 step process. First using the built in focus assist function, then by eye off the siemens chart, and finally confirmed on a 1080p on set monitor. All this was performed after the distance was confirmed with a tape measure. Here is a look at the test in action: Beauty Test: This test was designed for the telephoto lenses of each set. We wanted to see how each lens treats a human face both wide open and again at T 2.8. Focus was set to the left eye closest to the camera with the same three step focus confirmation. We have to give a big thank you to Stephanie from Duclos Lenses for being our test subject. Shutter speed was used to control exposure. Shot on the Red Epic (5KFF, 320ISO, 23.976fps, 3:1 compression, 5000K post adjusted). In action: Video: The video comprises both the Torture Test and the Beauty Test. It’s just shy of an hour but make sure to watch the entire thing. Hope the music makes it a little more entertaining for you! Keep an eye out for the areas highlighted below. This will give you a baseline indication for comparison. View downloads at 100%. http://www.youtube.com/watch?feature=player_embedded&v=xap3FJDcCUw Comparisons: (Wide Open) Available on website: http://matthayslett.com/salt-iii-high-speed-lens-shootout-wfo/ Conclusion: It’s safe to say the torture test is rather harsh for all of the lenses (except Leica Summilux-C and Master Primes) while all perform well on the Beauty Test. Like I said earlier this shootout wasn’t intended to pick a winner, but really to compare and contrast between the sets. As you can see in this example the Leica’s and the Master Primes come out as the most rounded of the lens sets. This test is definitely not definitive and each real world shoot has a specific need or look and varying budget. A set that works for one project may not work for the next. Download the test material which is provided in the links above and have a look for yourself (both R3D grabs and stills are available for each set). Before you make any conclusions I would urge everyone to perform their own tests if possible. Those of us who put this shootout together would like to thank all of you for taking the time to view this and hopefully you get as much out of this as we have. Visit the webpage to download all the files and 4K video: http://matthayslett.com/salt-iii-high-speed-lens-shootout-wfo/ Matt Hayslett Director/Cinematographer Los Angeles, CA. matthayslett.com

Hello All, Check this out: First instance shooting on the Redlake locam inside. Definitely quite challenging to use. Next time I'll up the light for sure to fix up some of the focus issues. Let me know any other thoughts! Thanks, Luc

SUPER 8 STUFF FOR SALE = Bolex 680 + Aspheron Wide Lens £100 Revue TM 8 £75 Bolex Aspheron Wide Lens £30 Sankyo XL-420 £60 Sankyo XL-620 £100 Canon 514XL-S + 43mm C-8 Wide Lens £100 Canon AF514XL-S AUTO FOCUS £100 Canon 67mm C-8 Wide Lens £100 Braun Nizo 6080 Matte Box Cased Kit £300 All prices in GB Pounds. - Everything in excellent cosmetic condition, professionally serviced and fully tested. :)