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My Gear


Found 10 results

  1. Hello dear community, Due to an upcoming project, I was looking to purchase an additional cine lens. In my search for something affordable, I came across the Sony Scl-p series. So the ones that were originally built for the F3, F5 and F55 cameras. However, I can hardly find any info on the lenses. Neither test reports nor comparable. Therefore, the question if someone has experience with the lenses and knows if they are any good. Thanks in advance.
  2. Last October I had the chance to work on a new project in Ireland with director Ian Power. The project was a promo for TAM Ireland, which is the organisation that oversees commercial publications / advertising on TV in Ireland. TAM Ireland - TV Build Brands We had a 2 days shoot in the Ardmore backlot in Bray, which is an amazing backlot with everything that you need in order to get a lot of production value out of the set. However, the budget was minimal, 30K for 2 days, so we had to be quite inventive about how to make everything work. Ideally I would have shot it on a Sony Venice + Panavision anamorphic lenses on a steadicam but the production company couldn't afford a steadicam operator (let alone anamorphic lenses) and we ended up with a Movi Pro. Virgin Media was producing and they had a camera that they wanted to use because of the workflow that they already had in place, a Sony F55. Lens wise, we used a 35mm Ultra Speed Z with an anamorphic front that they had in Panavision Ireland in one of the drawers and it definitely helped with the balance of the Movi. We used the first day to block the actions, the actors, choose the path that the camera was going to make and light it. It was really great fun and it was my first time using 12Ks on cherry pickers!!! One of them is behind the building at the back of the first street, another one was behind the building in the end frame and I had another one around 20 meters away filling the end frame through a 2 meters by 2 meters which was behind me. The lights in the "interiors" are blondes and litemats, with some Astera tubes that you can see. Now, we weren't supposed to shoot at blue hour so I had the 12Ks with a lighter diffusion than the one that I would have chosen if I had had the choice of shooting either at blue hour or night.. but we ended up shooting two takes at blue hour and one of those is the one that they picked. I would also have gelled the 12ks with a 1/4 cyan to make them a bit colder / neutral I hope that you like it! Have a lovely day.
  3. Hi All, I’m about to shoot a fiction in upcoming days. And the camera options provide to me are Sony F55 or Sony FS7 M1. We would we shooting prores due to budget constraints in post. Hence I needed your inputs on which one should I select. I understand that the Sony F55 has its advantages with global shutter and raw recording with R5 extension. However as we would be primarily shooting prores, should I select F55 or FS7. Thanks, H
  4. Trying to get a low noise image with the f55 but finding lots of noise in the shadows. I posted earlier exposure tips but any thoughts on how to get less noise in the shadows especially during a low light shoot.
  5. Selling my Elements Micron 15mm dovetail/bridgeplate package with shim and shoulder pad. (this was primarily used with Sony F5/55 camera) The package is solidly built with quality workmanship in design and machining. Everything included is still in excellent shape and working as it should. This setup is for 15mm rods and was used primarily with the Arri MFF-1 follow focus and MMB-1 matte box on a Sony F5. The entire package consists of: 1x ELEMENTS MICRON 15MM DOVETAIL • Designed to be a scaled down version of the Arri dovetail for 17mm rods. This is shorter, thinner and lighter to accommodate 15mm rods • Sturdy safety catches at both ends of the dovetail • Provides quick, easy adjustment when needing to slide your camera forward or back for balance, focus, framing or other reasons • Easy release of bridgeplate for immediate transition to handheld mode 1x ELEMENTS MICRON 15MM BRIDGEPLATE • Should mount to all professional and/or prosumer camera models as well as quick release plates • Locking knobs for rods and dovetail are easy and precise to use with solid hold • Travels the length of the dovetail with no snagging 1x ELEMENTS MICRON SHOULDER PAD • Shoulder pad is easily removed via a single bolt matching the majority of quick release plates • Pad is able to stay mounted as long as you are using the bridgeplate. Even when mounted on a tripod or any fluid head. Easy transition to handheld by simply sliding the bridgeplate off of the dovetail and you’re ready to go. 1x ELEMENTS MICRON SHIM FOR SONY F5/55 • This is used to provide the precision spacing to allow a matte box or follow focus to align vertically with the optical center of your lens(es) ALL NECESSARY HARDWARE (15MM RODS NOT INCLUDED) Asking $650.00 - FIRM. Available for pu in NYC area. PayPal / Chase QuickPay only
  6. Hi All, I'm currently DOP for a social realism graduation film, a bit naive and a bit nervous because my approach is to experiment and shoot with the Sony F55 and 16mm Zeiss Distagon prime lenses throughout the whole of the short film. This means I have to operate with 2x crop, which isn't much of an issue because I have all the necessary primes and zoom lens to cover the shots needed, but from the camera test footage the lenses appear a bit too soft. I was intending to get a soft look, but I didn't realise how soft they would actually be. I'm not too sure if the lenses need calibrating in anyway, but I won't jump to conclusions because my knowledge doesn't go that far, however they do seem to perform slightly better in low light. My film is being filmed out on the majority of Day Exteriors, so I'm just wondering if it's worth sticking to my guns, or whether it might be best to resort to other lenses. I also have the option of using the Zeiss CP.2 prime lenses, and I'm now thinking this could be my best choice. I'm a fan of the work by Stuart Bentley on This is England 90' and I've read up and come to understand that he operated with the Arri Amira, Arri Alura zoom lenses and the vintage Canon K35 primes. I'm just wondering if anyone has any useful advice on how I could achieve a similar look to this work. I'm looking a visual references such as: Tyrannosaur (2011) Dop: Erik Wilson This is England 90' (2015) Dop: Stuart Bentley Fish Tank (2009) Dop: Robbie Ryan (The images shown in this post currently don't have a colour grade applied, this is my next move as of tomorrow) If the images don't seem to appear, check out this shareable link to a google drive file of the test: https://drive.google.com/open?id=0B67phC0DGkQYUmJEY1FtN3RHOFk Fire away at any questions if I've missed anything, or if it doesn't quite make sense. Any help would be massively appreciated! Thanks, Matt
  7. Camera Essentials camera raincover sale is underway! For a 20% discount on our website: coupon code is RAIN (for raincovers only) Alexa, Epic, Sony F55/F5 Weather Protectors We still have some FILM camera raincovers at a deep discount, attached is the list with prices We also have a few sample raincovers, along with some raincovers for Steadicam (the clear vinyl kind) While supplies last.... Patti Harrison Camera Essentials www.cameraessentials.com cameraessentials@gmail.com Raincover Sale 2017.pdf
  8. Hi, I'm currently in pre-production on a "kitchen-sink" social realism drama and I'm looking at films like 'Fish Tank' and 'This is England' as visual references for the look of this film. I want to use the flat and dry colour palettes used in these films to create a similar mood and atmosphere for my film. Eventhough my influences are from an 80's style, this is a creative choice for a film with a contemporary story. I will be testing the Sony F55 and the Blackmagic distagon lenses next week to see if this would be a possible substitute for shooting 16mm film as this would be too expensive. I've been told that this would change my depth of field and that I'll be shooting with a 2x crop. The majority of this short film will be shot ecu - mids with occasional wides as it's quite a close and intimate story. I'm just wondering if anyone has any suggestions or advice in regards to my approach? Here are a few visual references. Fish Tank: http://66.media.tumblr.com/f87e91f7a39493982b2c3d601ca6b463/tumblr_mn65qzTtXA1s6aghro1_1280.jpg https://cinenthusiast.files.wordpress.com/2011/02/fishtank.jpg This is England: http://vignette3.wikia.nocookie.net/thisisenglandpedia/images/6/68/Article-1285850004888-0b6ab43e000005dc-948583_636x361.jpg/revision/latest?cb=20150928011720 http://esquireuk.cdnds.net/15/37/980x490/980x490-this-is-england-90-finale-43-jpg-6b3a7d05.jpg (Sorry for the links - this has been sent by mobile) Thanks and any help is much appeciated! Matt
  9. Hi everyone, I just ran some camera tests on the Sony F55. We're shooting an MFA thesis film at Emerson College in Boston and this was our first test. Here's my question: Why does shooting with a Red 25 filter yield such extreme contrast after converting to black and white? We're shooting the entire film black and white by simply turning the monitor to b&w, then reverting the Raw images to be graded in post. Our tests with yellow filters and blue filters converting to black and white yielded similar results to using color filters with b&w film, increasing contrast. Shooting with a Red 25 then converting to b&w out looks like some kind of Microsoft paint filter, like a posterize effect. Can anyone explain why this is? I've shot with red filter and converted to b&w on DSLRs and they simply make a blue sky black and bring out the whites more in clouds. Thanks.
  10. WANT TO BUY! Looking to buy used PL-mount camera in good condition and fair price. Preferably EU /Europe as i am in Sweden. Canon C300 Canon C500 Sony F5 Sony F55 Other PL cameras (Alexa, Red Epic) can be of interest as well. PM me with offer! Thanks
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