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My Gear


  1. For sale is my personal Lomo anamorphic round front set: 35mm Lomo Anamorphic T2.4, PL-mount 50mm Lomo Anamorphic T2.4, PL-mount 75mm Lomo Anamorphic T2.4, PL-mount All lenses are optically and mechanically in perfect condition, no scratches, no fungus, have stainless PL-mounts and focus gear rings ARRI standard 32 pitch. The lenses were recently serviced and are ready for shooting. Also included: Peli case, ARRI Lens Support LS-7, front and rear caps. Price: $35,000 Contact: c.lang@langfilms.de
  2. Looking to sell my Red 17-50mm lens. Bought it about a year ago from a fellow Red User. I don't freelance anymore and don't really use the lens anymore as well. Looking for $5,500 (negotiable). Let me know if you want to see pictures - I can email them. The lens is in great condition.
  3. The camera package has been well looked after and used only for my own jobs. It has never been rented out. Very very low hours! No scratches or problems. Based in Fresno, California. Overnight shipping included and PayPal accepted! Please email me zackyee12@gmail.com or feel free to shoot me a text 5593412427 I have more pictures to if you want. 1 DSMC SIDE HANDLE 1 RED TOUCH 5.0" LCD 2 REDVOLT 1 REDMAG 1.8" SSD - 64GB 1 RED STATION REDMAG 1.8" 1 DSMC TRAVEL CHARGER 1 SCARLET-X W/SIDE SSD AND LENS MOUNT - Canon ALS
  4. 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
  5. Hey all, I'm gearing up to shoot a music video using a Kessler Revolution head as a motion control rig. I'm looking to shoot the band in a large open warehouse that has some windows but I will need to bring in lighting. The finished video will look like a one shot video where the band is performing and the camera pans to the left continuously and each time the band starts to exit frame right they enter frame left, and this happens throughout the video. I have linked a previs video I put together to help explain the concept. My plan is setup the Revolution Head in the center of the warehouse and program it to rotate 360 degrees in 4 minutes and 5 seconds (the length of the song). From here I will shoot a clean plate and shots with the band performing. Each pass that has the band performing I will shift the band to the left in a circular trajectory so I can then layer the shots in post. I'm guessing the post would require some masking but nothing too extreme. My issue is, how will I get the lighting to match and stitch consistently throughout the video. I fear that unless I light the entire space the lighting won't stitch properly. Any information is greatly appreciated. Previs video: https://www.youtube.com/watch?v=vNYeV4WKIPE&list=UU3jj9kfaAsoOB0p_K24jzvA Thanks, Michael
  6. 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:
  7. Hi, Been a reader for a long time but haven't been active on the site much, thought you all would have some good insights on my most recent reel. What you like, what could be done better. It's a mix of F65, Red, 16mm and one or two DSLR shots. Thanks guys, all the best! Ben http://fischinger.com/showreel-2014/
  8. Redmote for Red Epic/Scarlet like new condition, only used a handful of times. No scratches or signs of wear $380
  9. Hey, So I am a fairly new cinematographer and as a school project am DOP on a PSA. The director wants to shoot at 240fps which is cool to look at in a dolly out at 35mm lens traveling about 25 feet starting 10 feet away from the subject to (you guessed it) 35 ft away. In 10 seconds. I know the epic can do the frame rate smoothly and all but my real concern is the pockets of light in the background coming from various trees and bushes. I want to use HDRx but have never used it before in a dolly shot. Are the frames in HDRx take at the same time? Will it look more jerky and "flickerish" in post? The ambient level is around f16 the hot spots are f64, shooting at f2.8 with ND 6&9 and HDRx at 4 stops I am hoping to maintain the lighting to be consistan and normal, without hotspots. Is there something I am missing or overlooking
  10. Looking to buy RED Scarlet-X (in new or pristine condition) would prefer package deals but also will accept just brain as well.
  11. For Sale Red Scarlet Camera Ti PL/ Side SSD Complete package for $13,000.00 Please contact me directly at 843-554-7811 Includes the Following ELPAC AC Power Adapter 4 pin Lemo - AC Cable RED Touch 5" LCD RED Touch 5" LCD Hoodman 7" RED LCD/EVF Cable REDVOLT Battery #1 REDVOLT Battery #2 REDVOLT Charger & Cable DSMC Side Handle RED STATION 1.8" (USB 2.0 working) DC Power Cable - AC Power (3) REDMAG1.8"SSD64GB Pelican 1510 Wooden Camera Easy Riser (Epic/Scarlet) Wooden Camera 15mm LW Rod Bracket Wooden Camera Easy Plate XL Wooden Camera Top Handle Cheese Tiffen 4x5.65 Hot Mirror IRND1.2 Filter Tiffen 4x5.65 Hot Mirror IRND1.5 Filte
  12. Epic M Kit #297 - 137 hours - - $27,000. Currently Located in Beverly Hills. The camera is in line for the dragon upgrade. Epic Ms have priority upgrades. (1) RED Epic Body with PL Mount and Side SSD (1) RED 5" LCD (1) RED EVF (1) RED Side Handle (1) RedMote (1) RedVolt Charger (1) Side Handle Port Cover (1) EVF Cable (1) Small Red Noga Arm (1) RED 1.8" Reader (1) RED AC Power Adapter (4) RedVolts (4) 128GB 1.8" RedMags (1) 1510 Pelican Case bradleycrane@mac.com
  13. Hi, This is my firts post on this forum so i would like to share with you my recent showreel: Im, 24years old cinematography student from Polish national film school in Łódź. it was shot on 35mm, arri alexa, red epic, red scarlet, sony f3 Watch, and comment :)
  14. I've asked this on numerous forums, but I'm trying to get the widest opinion possible. Working freelance dop/camera at my age, I feel the need to own the camera to obtain most of my jobs. Sucks, but oh well. A lot more people rely on the DOP/Camera op to own their own gear than spending extra on rental. Which is fine. I need a camera anyways. I'm in need of a professional cinema camera that wont let me down and will last me years to come. I shoot music videos, commercials, and films., a lot of times smaller productions where I'm working solo with limited resources. Some things with big budgets and great lighting, sometimes very low budget with limited lighting. I have a budget, but I can break it if its worth it. Being young still, it would be the biggest expense. Other may think I'm crazy. But I need it for business. To make money and not just own a camera to be a big shot. Sony F5 + R5 - $35,000 Sony F55 - $28,500 Scarlet + Dragon + Motion Mount - $35,00 Epic + Motion Mount - $35,500 *Epic + Dragon + Motion Mount - $45,000 *Arri Alexa HD - $50-65,000 *WAY over my budget, but may be worth it? The Sony F55 seems to be the cheapest. Has great features (Global Shutter), but no raw, unless paired with R5 recorder bringing it to about $37,000. In a way, these cameras are almost the same price. Give or take a few. Id love to get the cheapest one and get accessories for it, which id still need. PROS: Sony F5 + R5 - high frame rates, raw Sony F55 - Cheapest, global shutter, high frame rates Scarlet + Dragon + motion mount - High DR, global shutter, raw, most popular choice Epic + Motion Mount - High frame rates, global shutter, raw, most popular choice Epic + Dragon + Motion Mount - High frame rates, High DR, global shutter, raw, most popular choice Arri Alexa - Best overall image?, raw?, high frame rates? CONS: Sony F5 + R5 - No global shutter, not as well known :mellow: Sony F55 - No Raw, not as well known :mellow: Scarlet + Dragon + motion mount - Noise, Limited frame rates, many user problems <_< Epic + Motion Mount - Noise, many user problems <_< Epic + Dragon + Motion Mount - Noise, many user problems, High in price! :( Arri Alexa - unknown about arriraw, no global shutter, HIGHEST in price :angry: Id get the Sony, F55 or F5 + R5, but it isnt that well known. Isnt as in demand as I hoped for. If its all quiet and not used for cinema as much as broadcast, Id probably want to go a different route like RED as they are well known and used in cinema primarily. But performance is a let down.
  15. I'm thinking of investing. Who has used it, who's got one, and how do they perform compared to using a Red Rocket in a Mac Pro when transcoding? I'd be looking to use it with a 27" iMac (i7 3.5, 32GB RAM, 4GB GPU) and a MacBook Pro (i7 2.5, 16GB RAM, 1GB GPU). Thanks for the help guys.
  16. Hello, I am looking to sell the following: 1 DSMC SIDE HANDLE 1 RED TOUCH 5.0" LCD 2 REDVOLT 1 REDMAG 1.8" SSD - 64GB 1 RED STATION REDMAG 1.8" 1 DSMC TRAVEL CARGE 1 SCARLET-X W/SIDE SSD AND LENS MOUNT - CANON AL http://www.red.com/store/products/scarlet-x-al-canon-mount-collection 50 hrs of use Also comes with PELICAN 1510 watertight case Also included is: ATOMOS SAMURAI Batteries, charger, disk caddies, cables and a PC/MAC docking station with carry case. Also comes with 128 GB HDD http://www.atomos.com/samurai/ Let me know if you are interested as I am located in Toronto, Canada Mike Asking $14K
  17. BURBANK, CA - FotoKem recently completed the digital intermediate and post production services for the indie film Palo Alto. Working with director/screenwriter Gia Coppola and cinematographer Autumn Durald, FotoKem colorist Alastor Arnold fine-tuned the natural look created in camera to ensure the filmmakers' vision for this teen tale is reflected on the big screen. Based on James Franco's short story collection about rebellious high school kids in suburban California, Palo Alto has been praised for Coppola's coming-of-age storytelling and for Durald's evocative photography. The film, which marks Coppola's feature debut, garnered raves at the Tribeca, Telluride, Toronto and Venice film festivals before its recent release. "Gia and I had worked together on five projects prior to this feature, so we have a similar visual language, taste and sensibilities," says Durald. "Gia is from a photography background, and we pulled a lot of photographic references for the tone and mood we wanted - photos by Stephen Shore and William Eggleston. It was important to have a more filmic, softer texture to the image that harkened back to movies like The Outsiders and Dazed and Confused - something that looked more aged with softer tones in the blacks as well. And nothing overly saturated and contrasty." Durald shot the feature with a Panavised RED Epic camera, mounted with Panavision Super Speed lenses and vintage 1970s glass to give a softer feel to the image. The on-set DIT handled basic data management and adjusted stills in REDCINE-X, but no LUTs were applied. Durald's RED raw R3D files were transcoded for final color using REDlogFilm for flexibility with various film/lab emulations. When Coppola and Durald met with Arnold, they brought their look-book of still photography and suggested some films for him to watch, including The Last Picture Show, American Graffiti and The Virgin Suicides. They also experimented with different combinations of film emulation LUTs and grain treatments on various scenes from the feature. "First and foremost, they wanted a very filmic approach to keeping the image natural, smooth, and most importantly beautiful," recalls Arnold. "We weren't pushing in a hyper digital direction. Autumn's photography was awesome, a unique look with a consistency of tonality - it was in a very warm place with naturalistic skin tones." Arnold demonstrated Fuji and Kodak film emulation LUTs along with variants involving slightly different color spaces and lab processes. "We were really happy with the Kodak LUT as the base, and then we added grain over that as well," says Durald. Using the Quantel Pablo for grading, Arnold suggested using its noise treatment feature in different blending modes and intensities to give a grain pass to the entire film. "It all ran in real time, so it was really interactive and fast to adjust noise to emulate different exposures," he reports. He gave particular attention to sodium vapor night exterior shots, tilting toward warm ambers instead of greens and making sure that black levels "felt appropriate for night but didn't bury anything - you always felt you could get into them." Arnold credits Durald's talents as a DP with making the DI process more about collaboration and experimentation than fixing things. "We never struggled to match a key to another key or to even things out," Arnold notes. "It was all about finding the right feel, tonalities, densities and grain. It was great to have the filmmakers walk in with a concise understanding of where they wanted to go stylistically with the finish." Durald concludes, "Alastor has a really great eye - he understood what we were going for from the outset. It's really important to find people with the same taste and sensibilities you have who can translate your visual language emotionally and technically."
  18. Has anyone out there tested the ARRI Alexa XT's Open Gate mode (1.55:1) on 2x Anamorphic Lenses verses a Dragon at (3:2) with Ana's for close to a 3:1 output ratio with cropping? Or even just the two against each other at all. I cant find anything online at all. Any thoughts on this would be appreciated. Cheers! Karl Janisse
  19. Hey friends, I have been working on this film for the last year, shooting all in 4K (Via Red Epic or time lapses from a Canon MKIII processed into 4k standard 3840x2160) Please take a look and let me know what you think: Watch in 4K Would love to hear your feedback. If you dig this project help us finish it by sharing this link: https://www.kickstarter.com/projects/1503578410/secrets-of-the-west-a-4k-adventure Thanks all!! -James
  20. i want to sell my red scarlet-x camera kit with all its essential accessories. i have bought some stuff from red.com & some accessories from woodencamera.com list: i'll attach photos in a couple of days (if needed) from RED: - scarlet camera brain - DSMC side handle - DSMC travel charger - side SSD slot - canon EF mount - PL mount - 6x redvolt - 5x red mag 1.8" SSD 64GB from wooden camera: - bridgeplate 19mm - easyriser - top handle (cheese) - side handle (rubber) - switronix V-mount - quickback V2 - ultimate top mount - ultimate top mount cheese plate all amounting to $21,760 by current reduced prices. i'm willing to sell for $21,000. that is $760 cheaper & faster delivery too ;)
  21. 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
  22. Hello, My employer may soon be renting a Red Scarlet for me to use to record a live event, but I know close to nothing about how to use it. Does anyone have any tips/learning resources for a first time user? Also, what is the best gear to use, keeping a somewhat tight budget in mind? Thank you
  23. Hello, I'm shooting a short film next month that has a few bicycling sequences, involving two characters - an older man and a younger boy. I'm working on finding an affordable, safe method that will give good results. I am shooting RED EPIC with Zeiss UP. A few notes about the coverage the director hopes to achieve: - Wide Shots in front of characters (biking towards camera) - closer shots (shoulder up MCU) on faces - wide shots on characters back (following from behind) - Profile bicycles on sidewalks A few factors to consider: the characters are going to be biking pretty slowly / casually. We are shooting in a small southern town, and the locations are all pretty smooth and well paved. This is a college thesis film, we're students so think micro with the budget. We have access to friends pick up trucks (and other automobiles). So my current plan of attack is to shoot from the bed of a pick-up truck. I was thinking securing a high hat and stabilizing with sand bags and ratchet straps. Here are the questions that arise: Is this approach the best given the budget restraints? Has anyone used a different method they would like to share? Going with this approach, what is the best way to stabilze a RED EPIC to a truck bed that will minimilize bump and shake and still allow me to operate and follow the action taking place? Does anyone have any pictures of rigs like this? I would love to see a concrete example of what I'm trying to achieve. Any adive for shooting the shots from behind the bicyclists - the only thing I could think of would be to drive the truck in reverse... I apoligize if this topic has already been discussed. I searched through the forums but didn't come across any results. ALSO: Here's a video with great smooth shots, it's a skateboard but I imagine the bicycles will move at a similar speed. -- -- wonder how this was done? Thanks. Drew
  24. Hi Folks, I didn't go to film school. Most of my training came from internships in middle and high school (also my family was in local television) and those connections worked into jobs when I got out of school, so I'm not familiar with the film school scene, in fact, many of my mentors in the business advised me that unless I had a lot of money and could afford UCLA (this was 1978, by the way) or something equivalent, not to waste time and money on film school, especially since I had already had a good bit of hands on training during my volunteer work. It worked out for me pretty well , but that was a different time.Throughout the years I've done some consulting and community college level teaching, but never on a film school level until a year and half ago when I taught a cinematography class for the New York Film Academy in Celebration, Florida. I had a blast, great students and I got to work with some high caliber folks and for me the coolest part was I got to work with Arri S 16mm cameras that I thought I would never see beyond a museum again. Tri X Reversal, it brought back memories of high school football games and early 60's newsreels, my childhood and early adulthood.After reading up on NYFA both pro and con, I got the impression that many were questioning the wisdom of teaching students on an "old clunker" when the big guys are shooting with RED's and Alexa's. Fair enough, but you have to remember, this level of student, high school or early college is not going to start out with one of those anymore than I did with a Arri SR or Aaton Prod.You also have to take into consideration the number of students that aren't interested in becoming cinematographers. About two thirds of my students were wanting to be actors, directors and producers and they certainly weren't going to take it to the Panavision level. So here are the options for this level of student that I see. HD Prosumer or DSLR: I would lean toward either DSLR or perhaps some of what Black Magic is offering. This is where I have to criticize NYFA on their choice of the Panasonic prosumer grade cameras they use. Great cameras, but they're ENG and no matter how much you play with camera tape markings on the lens barrel,it's still not a proper lens for that. I offered the students the option of using that or the MF numbers on the monitor, as most AC's I've seen these days follow the cam op via a small flat screen monitor.Now DSLR's are great, but here again, they're not designed for a Hollywood type film crew operation unless you spend a good deal of cash on camera cages and follow focus attachments. This would be economically impractical in this type of situation, I could imagine the nightmare of trying to keep up with that many DSLR kits students were sent out with on the Disney backlot. High school students and even the adults in that type of situation need to keep the number of items in the field small,and the many pieces of tinker toy type stuff that goes with DSLR's would be a nightmare to contend with. Then you have super 8 and 16mm. I love super 8 and I could see it being used on a basic "primer" type of project, but beyond the avant garde scene, yuppie weddings and a certain type of look, its not really such a good training format either,It's best reserved, in my opinion for the "intimate" hand held, home movie or retro doc look, which is exactly what we're seeing the industry currently using it for. Then you have the old stand by, tried and true 16mm "clunkers". I love these things, they're my classic muscle cars, what I cut my teeth on, but it disturbed me to see so much precious film footage being wasted on exposure tests and workshops.Moreover , such a volume of labwork was a nightmare for scheduling projects, These days, especially for a film student on a budget, 16mm film stock is like oil and seeing it used like that is almost like driving a Hummer to the corner store. Check out this video:http://www.youtube.com/watch?v=SYADhAZsPNA Now let's say a film school has a fleet of "old clunkers". They're still good for training the basics on, but if,say you converted half of the fleet to a digital hybrid, the student could learn basic composition,exposure, work flow and camera crew operation and once they've mastered that, then they can move on to shooting their projects with real film cameras, if that's the direction, if not, they will still be prepared for the film type work flow that is currently standard procedure in the industry, rather than pick up bad habits from being trained on an ENG camera. P and S Teknik is already doing this with Arri 16 SR 3's, offering a digital mag and as I understand someone else is working on a digital super 8 cartridge. What are your opinions on this? Marty Hamrick Semi retired cameraman Oshawa, Ontario
  25. Hi everyone, I've not had to transocde scarlet footage before so I have a question. I feel it may be completly pointless but I'll ask nevertheless. Shooting RAW, at identical fps, is there actually a difference in render times between the two when transcoding dailies? Thanks.
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