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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

For Sale : 2 Sony PMW-F55 Camera Packages $5,000 Each OBO. 1. 4737 hours 2. 3724 hours Packages Include : AXSR5 recorder, F-55 VF, Sony 7" HD LCD Monitor, Audio & Battery Adapters, Carry Handle, VF Cable, 2 X Sony 128GB SxS Pro + media with a matching reader OR 2 X Sony 512GB AXSM media (to record in 4K) and a matching reader. Maintained By Panavision

Arri Alexa Mini Camera Serial # 20340 6065 Hours Price : $29K USD Arri evaluation report available. 1- Antenna 1- Alexa Mini Battery Plate BAP-1 1- Arri 19mm BridgePlate Top (435) BP8 1- Alexa Mini Bridge Plate Adapter BPA4 1- Alexa Mini To RS Adapter (L7 F3) CBLE-AMRS 2- Alexa Mini VF (L16 MHDM) CBLE-AMVF 1- Alexa Ethernet 3M (RJ45 L 10) 2- Arri Amira/Mini 24V Power (L8 XLR3) 1- Arri Center Handle CCH2 1- Alexa Mini Shoulder Pad CSP1 1- Arri Eyepiece Leveler EL3 1- Pair Of Eyepiece Rods IRISROD 2- Alexa Mini Adapter Plate MAP-1 2- Alexa Mini LWT Rod Support Plate MAP-2 2- Alexa Mini Side Bracket MSB1 1- Alexa Mini Viewfinder Bracket MVB1 1- Amira/Mini Viewfinder MVF1 1- O’Connor Ultimate Arri Base Plate OUABP 1- Arri VEB3 Viewfinder EXT Bracket VEB3

Pictures listed on my Facebook listing here - https://www.facebook.com/marketplace/item/904249070263231 *Price* £9000 ONO Camera is barely used and in amazing condition. ProAV overview - https://www.youtube.com/watch?v=NNi7Bv3MPJk Please do not ask to break up the kit, I can't do it. Kit Includes: 1 x Kinefinity MAVO LF 6K Cinema Camera 1 x Kinefinity KineMAG+ SSD 500GB 1 x Kinefinity KineBACK 3 1 x Kinefinity KineEVF Full-HD OLED Viewfinder 1 x PL Mount with END 1 x E mount (Passive) 1 x EF Mount 1 x Kinefinity PD KineBAT 75Wh Battery Package 1 x 2 bay charger (Sony BPU) 1 x Smallrig Cage 1 x Movcam Baseplate 1 x KineMON-5U2 Monitor Complete Pack 1 x Kinefinity 100W Power Cord 1 x Kinefinity Kine Power Cord (D-TAP) - L-Type 0.8m 1 x Solid Case Full Frame / Large Format CMOS Sensor The Mavo LF uses a completely new 6K CMOS imaging sensor with over 14 stops of latitude for detailed, cinematic images. 6K acquisition allows you the creative control to crop and manipulate your image when delivering in 4K, or to downsample to very sharp 4K images with a low noise floor. While its large format 36mm x 24mm sensor gives superb low light, depth of field and dynamic range for detailed and cinematic images. 6K ProRes and Raw recording to Internal SSD's Mavo LF allows for several raw recording options, CinemaDNG or .KRW files at either 3:1, 5:1 or 7:1 compression for pain free post production. You also get the option to record in all the flavours of Prores up to Prores 444XQ for projects where raw recording is not necessary. All of this is recorded internally onto 7mm SSD's. Removing the need for expensive and large external recorders. > 14 stops with Dual Native ISO Mavo LF uses a whole-new large format 6K CMOS image sensor featuring a Dual Native ISO of 800/5120. This allows it to capture low-noise and wide-latitude images in regular scenes or low-light environments easily. Opening up a whole new world of potential for filmmakers looking to push the boundaries of what is possible in their productions. High Frame Rates at High Resolutions With 6k recording up to 75fps, 4K up to 100fps and 2K up to 200fps in either Prores or CinemaDNG raw, Mavo's frame rates certainly don't disappoint. The frame rate can also be specified exactly to an accuracy of 0.001fps. These frame rates can be quickly changed on the fly with the use of presets, changing sensor crop, frame rate, resolution, shutter speed and codec with just the push of a button. This makes the Mavo LF very fast to operate for solo operators, as well as providing reassurance that your settings are exactly how you want them. Compact Modular Design Despite the high performance of the Mavo LF, the physical size of the camera is remarkably small. Plus coming in at just 990g, the core of the camera is not only small, its light as well. This means the Mavo LF is perfectly suited to gimbal and drone operators looking for the highest quality in the smallest package. With the addition of the Sidegrip, Kineback-W and interchangeable lens mounts, Mavo is a very modular platform. Enabling you to customise the camera to your exact requirements. The whole lineup for Kinefinity (Terra 4K, Mavo & Mavo LF) has the exact same physical dimensions, ensuring compatibility of accessories across the range. Interchangeable lens mounts The Mavo LF ships with a KineMOUNT. This proprietary mount is used to attach a variety of adapters, so you can use the lenses of your choice. The KineMOUNT is designed to be light with active electronic contacts, allowing it to work with PL mounting adapter with /i tech and new cordless EF mounting adapter, EF mounting adapter with KineEnhancer, Nikon F mounting adapter, Sony E adapter, PL/EF mounting adapters with electronic NS, and more. Stunning Images Both MAVO and MAVO LF can shot high frame rates at 6K resolution, with the same superior image quality. Both cameras give you more than 14 stops of latitude, pleasing skin tones and shadow details which are preserved perfectly. With 6K 3:2 aspect ratio, in addition to the conventional 16:9 and 17:9 standard aspect ratio, the CMOS sensor can also provide a variety of image formats, such as 4:3 & 6:5 S35 anamorphic shooting. Even open gate 6016×4016 is an option, recording up to 24 million pixels! Smooth Post-workflow: ProRes444 and Compressed cinemaDNG Mavo LF allows for either Prores or Raw recording to give you a range of codecs suitable for editing and colour grading to simplify the workflow and provide the maximum room for post-processing. It’s capable of Apple ProRes, up to ProRes4444XQ in 12 bit and Prores 422 HQ in 10 bit or compressed Cinema DNG with a compression ratio which can be set to 3:1, 5:1, or 7:1. These CinemaDNG files are supported by Davinci Resolve natively, so you can directly import, edit and grade the CinemaDNG footage shot by Mavo in Davinci Resolve. No matter which compression ratio you choose, 3:1, 5:1 or 7:1, CinemaDNG is able to achieve the maximum quality images and allow the most flexibility for your colourist in post-production. Wireless Camera: KineBACK-W on DarkTower After inserting a wireless card (based on DarkTower platform) into the new KineBACK-W, Mavo and Mavo LF turn into a wireless camera: enabling wireless video transmission and wireless lens control (with supported Movcam systems). This greatly simplifies working with the camera and the accessories, with a reliable and durable wireless connection. The wireless video can work with 2000ft/3000ft based on different wireless cards(DT2000/DT3000).

Hours-152 Price 23,500 US RED DSMC2 BRAIN w/ MONSTRO 8K VV and Al PL Mount RED DSMC2 Sidekick Magnesium RED DSMC2 Touch 7in Ultra-Brite LCD RED DSMC2 VV SKIN TONE-HIGHLIGHT/LOW LIGHT OPTIMIZED OLPF PACK RED MINI-MAG 480GB (4-PACK) RED STATION RED MINI-MAG - USB 3.1 RED DSMC2 RED EVF (OLED) W/ MOUNT PACK RED DSMC2 Production Module ARRI Top Plate for DSMC2 Wooden Camera ARRI LPL Mount for RED DSMC2 Camera Wooden Camera ARRI LPL Mount for RED DSMC2 Camera

$21K Includes DNxHD, Pro Res, Quicktime, Hi Speed, Anamorphic De-Squeeze License 1 x Camera Body S/N: 6810 Firmware SXT V 2.0:39 120 Hours-903 3x 512GB Arri/Codex XT Capture Drives 1x CDX-7513 Arri/Codex XT Thunderbolt Dock 1 x SXR Adapter 1 x XR Adapter 1 x SxS Adapter 1 x CFast Adapter 1 x A/B Battery Plate 1 x Antenna 1 x EVF-1 2 x EVF Cables 1 x BP-12 19mm Base Plate 1 x WA-1 Wedge Adapter 1 x LB-1 Leveling Block 1 x SP-4 Shoulder Pad 2 x 2-Pin to 3-Pin XLR Power Cables (6’) 1x Shipping Case

Looking for a professional quality S16 camera package, please let me know if you're WTS or have a contact, thanks! Steve

Hours-152 Price : $25,500 US RED DSMC2 BRAIN w/ MONSTRO 8K VV and Al PL Mount RED DSMC2 Sidekick Magnesium RED DSMC2 Touch 7in Ultra-Brite LCD RED DSMC2 VV SKIN TONE-HIGHLIGHT/LOW LIGHT OPTIMIZED OLPF PACK RED MINI-MAG 480GB (4-PACK) RED STATION RED MINI-MAG - USB 3.1 RED DSMC2 RED EVF (OLED) W/ MOUNT PACK RED DSMC2 Production Module ARRI Top Plate for DSMC2 Wooden Camera ARRI LPL Mount for RED DSMC2 Camera Wooden Camera ARRI LPL Mount for RED DSMC2 Camera

CAMERA ARRIFLEX + SCHNEIDER CINE-KREUZNACH SET aSKING PRICE : 6000 Euros / Location : Paris, France THIS KIT IS TESTED AND READY TO ROLL. The camera number shows it is one of the latest model, the body and the mags are in perfect condition, so as the lenses. This kit contains : - 1x Camera body ARRIFLEX 16 s + Matteboxe - 4x lenses + focal extender x2 : 16, 25, 50 & 75 - 2x 300ft Magazine (122 meter) - 1x 8 volt Battery + case - 2x Motors (1x 25fps motor & 1x Variable speed motor from 8 to 48 fps) - 1x Viewfinder extension - 2x Flycase All the material are like new, no sign of use (NO SCRATCH, NO TECHNICAL PROBLEM). The photo tripod in the pictures is not included in the kit. Here is some pictures of the hole kit, and multiple footage that i shot with it, it includes an audio sync shot with the 25fps motor : https://drive.google.com/drive/folders/15O28olFOoT8RYyXCPoNKTD2SjgrYUTBi?usp=sharing Here is the ebay link to the offer : https://www.ebay.fr/itm/144256898217

It was with Vision Research for an overhaul and check recently. $95,000.00 USD Trade description of goods Serial Number VR Phantom Flex 4K 128GB w PL mount 19910 2TB CINEMAG IV 1/2 19911 2TB CINEMAG IV 2/2 19912 Vision Research Cinestation IV 19913 Vision Research Ethernet to Fischer Camera Cable 1/2 245126160043 Vision Research Ethernet to Fischer Camera Cable 2/2 245126160001 Vision Research 3-Pin XLR to Fischer Power Cable 245126460037 Cat 6a Ethernet Cable x 2 N/A Vision Research Additional Shims Kit N/A CineStation AC/DC Adapter EB57J49697 Flex 4K Camera AC/DC Adapter EB57J05923 Vision Research Minibob Sync Capture Signal Breakout N/A Blueshape V-Lok Battery Plate [mounted on camera] S0059435 SANLink2 Thunderbolt 2 to Ethernet Adapter SQ0067018459 SANLink2 AC/DC Adapter P35B16759200075

For Sale : MRMC BOLT JR. COMPACT,LIGHTWEIGHT HIGH SPEED CAMERA ROBOT Selling Price : $115,000 USD

Hi, everyone! Gonna be shooting a film with a look rooted in Jazz photography from the likes of William Claxton, Dennis Stock and others known for the marvelous images they created around that beautiful genre. Obviously, the film's aesthetic's going to borrow a hell of a lot from these great photographers... However, what I'm most interested in is the B&W film stocks that were around the time in which the most iconic artists were photographed: the 1950s. So, on the one hand, what I'm wondering is if there's anyone in the room with an idea about the the rolls of B&W film available at that time and their characteristics. But on the other hand, I'd like to know if anyone knows where can I find information on the way these photograpers worked, which is to say the lenses and equipment they used, the way they developed their film and created they final shot in the darkroom, etc. Also welcome is information on the film stocks used to shoot movies or documentaries around the 50s. My guess is even at that time Double-X was the real deal, but... You know. A guess is a guess.

I recently shot a superhero film and was looking for feedback on the lighting/camerawork When filming, I was going for the style of something like "The Boys" more of a gritty look. Let me know if you think it works or if there's anything that could've made it better. https://imgur.com/a/xKSn29I Specs for those interested: Lit with: Arri Skypanels s60-c Arrisun 1.2K 8x8 Silk Frame Shot on: RED Weapon 8K

For details email sales@broadcastsolutions.com SR3 Advanced Camera SN 4142, finder, right on/off handgrip, TV/1.78 ground glass, Gold Mount Battery Bracket (NEW) Arri SR3 IVS video assist (SD) SN 5064, power cable Arri SR3 FE-4 extension viewfinder SN 1294 SR3 400' time-code mag SN 3543, cover SR3 400' time-code mag SN 3549, cover SR3 400' time-code mag SN 3645, cover Heated Arri 3-position eye piece w/2 cables SR-3 shoulder pad 2x SR3 Black Battery Cables ARRI SR3 LW15mm rods ARRI BP6 19mm Baseplate ARRI Dovetail 24v on-board battery # 1 SN 4329 24v on-board battery # 2 SN 3711 24v on-board battery # 3 SN 4094 ARRI dual on-board battery charger SN 1070 Assorted SR3 Ground Glasses, various formats The complete system (Body, Mags, IVS) was overhauled in 12/19 but it has not been used since this.

Below is a link to stills from a recent film I worked on as DP. The film is a comedic coming-of-age type film It was shot on the Arri Alexa with Zeiss CP.2 lenses. Primarily lit with Skypanel S60s and Arrisun 1.2k HMI Let me know what you think! https://imgur.com/a/6sAQyL3

Hi everyone! I was enquired today to possibly shoot a commercial for both the UK and the US market. I wonder what is the latest and best workfloor to output both in NTSC and PAL. Would it be best to shoot PAL - here in the UK - and then later just convert the finished piece or have an external recorder, recording in NTSC while the camera records PAL? I wonder for the latest method if it'd be problematic to match the colour grading as the files might be different. Unless using two external recorders based on the same type of file? Has anyone gone through this recently or in the last couple of years? Thanks Luca

2 - Packages Available $14000 Each. Will Consider Offers Hours: 1247 & 1260 Canon Cinema EOS C700FF Body PL Mount Canon EVF-V70 OLED Viewfinder for C700 ARRI Pro Set 19mm ARRI VF attachment C700 VF Cable 4 Pin Power Cable 5 x Sandisk Cfast 2.0 128GB Cards Lexar Cfast Reader ARRI Dovetail Plate 12” Canon Top Handle & Accessories 35mm Global Shutter Sensor (Original which can be refitted if needed)

Arriflex 435ES Camera Package $12K US Includes: - 435ES Camera Body s/n:7159 - 4-Perforation Movement - NTSC Color Video Assist - Camera Grip Hangle System - Arriflex F-3 Swing-Over Finder - Wide Angle Eyepiece - Wide Angle Eyecup - Arriflex FE-3 Finder Extension - Arriflex EL-3 Eyepiece Leveler - (6) 400-ft ARRIMAG 120 Magazines - Arriflex RCU-1 Remote Control Unit - On/Off Pistol Grip - Shoulder Pad - Arriflex BP-3 Bridge Plate (15mm) - Sliding Base Plate - Set of Long Iris Rods - (2) Camera Power Cable - Power Cable Extension - RCU Cable - RCU Extension Cable - Set of Flight Cases 2 -24v batteries

2- Phantom Flex 2K packages for sale. Details below 1.Price $30K Package is not located in the US VR Phantom Flex 2K 32GB 2 x 512 mags Audio box Camera top handle Camera bottom plate Power adaptor – slight damage but working Power cable Mag cinestation PCIE card and cable Rain Cover 2. Price $20K Package is not located in the US VR Phantom Flex 2.5K 32GB VR0111 S/N 1069 PL Mount EF Mount F Mount 1x Cinemag 256 VRI-P65FL-256GIG VR0410 9533 1x CineStation VR01107938 10GB

Selling my Red Komodo with 7 hours used. The camera is bought in Europe more precisely in CVP and that is why it is sold in euros. Location is Tirana, Albania. Thanks RED KOMODO 6K BODY ANGELBIRD AV PRO CFAST 2.0 MEMORY CARD - 1TB CORESWX KOMODO V-MT BATTERY PLATE RED KOMODO OUTRIGGER HANDLE TILTA TA-RF-PL CANON RF/PL ADAPTER SMALLRIG 2756 MINI TOP HANDLE SANDISK EXTREME PRO CFAST CARD READER Canon BP-975 3x Lithium battery 10050 mAh V-mount V-mount Charger Total Price €12.000 Extra DJI RONIN-S GIMBAL NEW OPEN BOX €766.90 See less

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

If anyone has one they can sell please email pricing and details to sales@broadcastsolutions.com.

The computer has been upgraded to this HP ZBook Studio G3 Intel Xeon CPU e-31505M v5 @ 2.80GHz 16.0 GB Ram. Price : $11K US

Bolt High-Speed Cinebot - for high speed camera movements. Includes 6-axis robot, UniVAL software, Interfacing option to Flair high speed motion control software, Flair License, PC hardware & Hilscher EtherCat networking adapter, Hand-held remote controls, Ulti-axis card for control of Focus/Zoom/Iris motors, Two high speed focus/zoom motors, Intime Real-time Extension & License, Custom Camera platform with multiple mounting points, Safety and additional Emergency stops, Bloop light & extension, triggers box, 4 GP Outputs, 2 GP Inputs, 3D Graphical display, CGI moves Import/Export facility, Interfacing to turntables and Model Movers. Set of allen keys and 14mm allen key, flair and RX160L manuals. Spares package including: Ulti-axis card, Quad Axis card, spare PC hardware & Hilscher EtherCat networking adapter, spare GPIO card, spare focus/zoom cable, network cable, Ulti-Axis XLR power cable, fuses Pedestal unit with out-riggers and weight buckets for weighting down. Small turntable capable of a 20kg payload. Simple motor that can be triggered to move items or open valves, etc. Warranty until 05/06/21 Price : $110,000.00 USD

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