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My Gear


Found 7 results

  1. Hello, I am in process of choosing glass for a project and I need to find a zoom lens that matches (or at least gets close to) Zeiss SS mk3 lenses. I was considering the old Ang 25-250. Does anybody have some tips on this? Ideally I will go to a rental house to test some lenses, however I would like to go with a better idea. Thanks!
  2. Perfect conditions! Regular import with box and genuine Sekonic pouch. Asking price is €850 If you don't have an EU or UK VIES enabled VAT ID I have to apply local VAT.
  3. So I will be shooting a short miniseries (as a cinematographer) within a few weeks. The production will be using Blackmagic URSA Mini 4K as our A camera and Sony a6500 as our B-cam. Most of the scenes will be shot A-cam only - especially interiors with good lighting. Sony a6500 will be used as our lowlight camera, since there are some night exteriors that Ursa won't be able to handle. The a6500 will also be used as a rigging camera (car scenes, gimbal etc.). There are also some dialogue scenes that call for two camera setups. Canon EF lenses will be used on both cameras. We will be shooting flat 4K 24fps for the most part (ProRes 422 on Ursa and X-AVC S 4K 100M on Sony). The mood of the series is quite naturalistic, so no extreme color grading or special effects. Is there anybody with any experience using Ursa Mini 4K as an A-cam and Sony a6500 as a B-cam? I'm looking for some advice on how to match the two systems in-camera (picture profiles and such), in post and on how to successfully work with both systems on the same project. How easily do the two cameras match color-wise? Slog2 or Slog3 on Sony? How problematic is the difference between 8-bit and 10-bit color (do I absolutely need an external recorder for a6500?) and what to shoot the daytime 120fps slow-mo on? Thanks a lot ? Cheers, Martin
  4. Hey guys and girls I have an upcoming shoot where I need to light a few different office scenes in a way that looks modern, clean and uniform. The location we have has a good all around ambience that sits at approximately 4900-5800K throughout the day (this warmth comes from a large building across the road that bounces a lot of light into the space. Two space lights, balanced to daylight and sent through an overhead 8x8 butterfly with full silk, will light the boardroom scene, and for other scenes there will be a lot of practicals that will provide the motivation for areas where the windows wont be close enough to justify using them as a key source. These will be augmented with kinoflo's. In order to maintain the near-future, clean, uniform look I have opted to got for using daylight balanced practical sources only. My natural inclination is to use LED lightbulbs in the light fixtures. These include standing lamps, frosted balls that litter one of the spaces, and desk lamps. Here is my conundrum. I have searched the length and breadth of my city to find daylight LED's that come closer to 5000k so as to match the ambient light coming from the windows, however all I can find are 6000-7000k bulbs. Since the windows will almost always be in shot (there are a lot of windows) and the ambient light in the room is quite warm, I am trying to figure out how to have a uniform color temperature between that light and the practicals. Are there bulbs on the market that can achieve this slightly warmer temperature? How would you go about matching these two different light sources. Do any of the major industry LED manufacturers make daylight balanced bulbs, as Kino-flo does with their CFL's? I'm not using the CFL's because I cant find any in time, and most of the practical fixtures are too small to fit them. Thanks
  5. Preparing for a documentary shoot which will shoot in six locations, each with a different crew and DP. We're searching for a universal package that can get each unit matching as close as possible. Cameras are Sony FS7 across the board. For the most part, we'll be renting the Canon 15.5-47 or the 14.5-60 along with the Canon 30-105. However, in one of our locations, the only short zoom available is the Angenieux 15-40. My gut says that the Ang won't mesh well with the CN-E zooms, but it's been a few years since I've shot with the Ang and wanted a second opinion. Does anyone have experience matching the Angenieuxs to the CN-E zooms?
  6. Hi, I'm doing a two camera shoot with my FS5 and A7S, and wondering if anyone knows which Picture Profiles or HG to set on the cameras for best results for matching. Best
  7. Hello everybody, Has anyone of you made a comparative test between Alexa and Amira under the same conditions? According to Tech Specs, both cameras have exactly the same sensor. But is it possible to tell the difference between the two cameras, assuming they are using the same codec and ISO settings, the same lens and t-stop and the same lighting conditions? I´m looking forward to hear your opinions and experiences about this. Thanks, Matteo
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