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  1. $3900 http://ebay.us/Mp4vux?cmpnId=5338273189
  2. This is not meant to be a digital vs. film post, I like both and they each have their place. I'm working on a feature, and in pulling a bunch of imagery as references for what I'm aiming for, and after diving through older threads on this website, I came across "Jennifer's Body", and particularly this frame. I love how it shows warmth, while her skin doesn't look orange, indeed there is a whole range of colors in her skin, from reds to pinks to oranges and even a little blue it seems. Earlier this year I did a side by side test between 5219 and the Alexa, and saw immediately how Kodak was able to really build skin tones into the chemistry of the film. Faces and arms and any exposed skin just seemed to pop with a wider range of color compared the the Alexa. I'd love to know if Mr. Mullen feels like he can get these kinds of skin tones working digitally now, or if he was shooting Jennifer's Body on digital, would he light it differently? More than that, I'd love to know if this frame was the result of a serendipitous combination of artificial back light and natural cool ambient? Or was he filling with a cooler light here? Or how much of it has to do with Amanda Seyfried's natural complexion or great makeup work? I always want to get better at my craft, and I'd love any input on how different people really focus on getting beautiful skin tones like these. Thanks in advance for any responses.
  3. Sniper Package $6000 MK3 Laser & Display paired and with newest firmware Smoke Iris 17 Degree Lens 5 Degree Lens Optical Flat P&T Bracket Noga Arm 5 Batteries 2 Chargers Power Cables 1 P-tap to 2 pin coiled 1 3-pin to 2-pin coiled 1 straight 3-pin to straight 2-pin 36” 1 straight 3-pin to 90 degree 2-pin 36” Preston MDR interface cables 1 short 90 degree to straight 16” 1 long 90 degree to straight 36” 1 long 90 degree to 90 degree 36” 1 Display Cable 36” Manual $6000 , shipping included in price, if purchased in the Continental US
  4. There is this old one ... https://variety.com/2009/digital/features/is-it-really-cheaper-to-shoot-in-digital-1118008522/ And a 2015 indie experience https://www.moviemaker.com/archives/moviemaking/cinematography/film-v-s-digital-is-the-expense-of-shooting-on-film-a-misconception What's your thoughts generally (not only on the articles...)
  5. Hello, When you are metering a scene, do you meter for the camera's dynamic range, or for the 6 stops in SDR or the 13+ stops in HDR? For instance, if your camera has 6 stops of highlight dynamic range, and 8 stops of shadow dynamic range, do you keep everything in your scene between those 14 stops or do you keep everything in between the lets say 6 stops of standard dynamic range? I hope this question makes sense! Thanks in advanced to anyone who can help! - Matt
  6. Hi all, I was wondering how one would go about exposing or even using color effect filters like color gradients, Coral, Antique Suede or Day for Night optical filters while shooting on a digital camera and delivering in color. For example, say that you are using an Antique Suede. Wouldn't depriving the sensor of blue light be very destructive to the raw image? To my understanding the blue channel displays the most noticeable noise the most often. If so, how would you combat this? What are the advantages of doing such an important color decision in camera rather than in post apart from the "stops people from messing with your image" argument? Are there any clear optical or overall quality differences? Thanks in advance!
  7. What are some ways I can make the most out of my Canon C100 MKII? I've shot a few micro films on it, but I feel like I may not be using the camera to it's full potential. I watch test videos on Vimeo and they look incredible, but when I shoot I feel like I could get a way better image from my Nikon D3200.
  8. Hi Im about to get a new camera today as a gift, but dont know what to get exactly yet. Can any give me advice and suggestions for digital cameras around $500 and what I should look for in a camera? Thank you
  9. I have available for sale- ARRI ALEXA PLUS 4:3 XR- £41,000 GBP ARRI Alexa PLUS 4:3 XR Camera Body BUNDLE ACCESSORY SET ARRI EVF-1 Electronic Viewfinder ARRI Alexa Rubber eyecup ARRI VMB-3 Viewfinder Mounting Bracket ARRI VEB-3 Veiwfinder Extension Bracket ARRI KC150-S Short (0.35m / 1.2 ft) Cable for EVF-1 ARRI KC151-S Medium (0.65m / 2.1 ft) Cable for EVF-1 ARRI CCH-1 Centre Camera Handle for Alexa ARRI HEB-2 Handle Extension Block ARRI KC154-SP-S Cable 12V Accessory for Alexa ARRI KC20 24v 2m/6.6ft Cable Power - Straight ARRI BP-12 Bridge Plate ARRI Bottom Dovetail 300mm / 12" (Balance Plate) ARRI 440mm Ø 19mm Support Rods (pair) ARRI Lightweight 240mm Ø 15mm Support Rods (Pair) ARRI SP-4 Shoulder Pad ARRI LB-1 Levelling Block ARRI ASD-1 SD Memory Card ARRI UMC Antenna ARRI White Cap BAB-G (Gold Mount Battery Adapter) Codex CDX-3790 SxS Adapter ARRI SxS Pro 64GB Memory Card ARRI SxS Pro 64GB Memory Card ARRI SxS Pro 64GB Memory Card Codex CDX-75112 single XR dock inc cables Codex CDX-3730 512gb XR Capture Drive Codex CDX-3730 512gb XR Capture Drive Codex CDX-3730 512gb XR Capture Drive ARRI ALEXA PLUS- £11,500 GBP ARRI Alexa PLUS Camera Body inc High-Speed License High-Speed License BUNDLE ACCESSORY SET ARRI EVF-1 Electronic Viewfinder ARRI Alexa Rubber eyecup ARRI VMB-1 Viewfinder Mounting Bracket ARRI VEB-1 Veiwfinder Extension Bracket ARRI KC150-S Short (0.35m / 1.2 ft) Cable for EVF-1 ARRI KC151-S Medium (0.65m / 2.1 ft) Cable for EVF-1 ARRI CCH-1 Centre Camera Handle for Alexa ARRI HEB-2 Handle Extension Block ARRI KC154-SP-S Cable 12V Accessory for Alexa ARRI KC20 24v 2m/6.6ft Cable Power - Straight ARRI BP-12 Bridge Plate ARRI Bottom Dovetail 300mm / 12" (Balance Plate) ARRI 440mm Ø 19mm Support Rods (pair) ARRI Lightweight 240mm Ø 15mm Support Rods (Pair) ARRI SP-4 Shoulder Pad ARRI LB-1 Levelling Block ARRI SxS Pro 32GB Memory Card x4 ARRI UMC Antenna ARRI White Cap BAB-G (Gold Mount Battery Adapter) ARRI AMIRA - £27,500 GBP Arri Amira body with w/ Premium License Electronic Viewfinder Sliding Top Handle w/ Stopper Pin & 3/8" Thread Adapter EVF Bracket Screw Cap Viewfinder Cable ARRI Viewfinder Blanking cap 8GB USB Flashdrive ARRI Eyepiece Cushion 2 x ARRI Short Antenna ENG Shoulder Plate WPA-1 Cine Shoulder Plate BP-3 ARRI ENG Plate QRP-1 BNC - BNC Cable (0.5m) BNC - BNC Cable (0.75m) 2 x19mm Bar 24cm 2 x 15mm Bar 30.5cm ARR! Amira PL Mount Adapter ARRI PL Port Cap For more information and pictures, please contact me.
  10. Hi everybody. I have a doubt concerning shooting anamorphic on digital cameras. I know the different camera menus (I'm talking from my Epic and Alexa experience) give me the option to chose between 1.3x, 2.0x and 2.0mag (this last one I have no idea of what it is) anamorphic desqueeze factor but I have no idea of what the rule of tumb is and which one to chose according to what. Feel absolutely free to add anything else that you thing might make things clearer. Thanks a lot, Davide
  11. Hi, I'm planning on applying to a film school this summer, for a directing course. My main focus has always been directing, with cinematography being both a fascinating hobby and something I've had to do for the ultra low budget films I've made. Now, the requirements are that you submit at least two films, of which at least one "made on film (16mm, super 16mm or 35mm)". I've got plenty of digital films to submit, but nothing on film. So I have to make a new one. I've never shot anything on film and, as much as I'd like to have this experience, it would be very expensive. Even with clearance stock, if you factor in renting the camera, developing, scanning, then making the final prints, it would run into the thousands. So I've thought that, since I would be scanning the film anyway and edit it in an nle, I could forgo shooting on film and shoot digitally instead, making a final print on film. The Blackmagic Pocket Cinema Camera has the right sensor size, dynamic range and resolution, so the way I figured, it would look very close to film. And the grain would be in the final print anyway. Might be a weird or crazy plan, but that's why I'm running it people who've worked on film before. Any suggestions welcome! Thanks, Paul. P.S. Regarding the ethics of it, I'm applying to a Directing course. Directing is the same, no matter the medium. If it was a Cinematography course it would've been a different story, but as it is, I seems like a pretty random requirement.
  12. 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
  13. http://movietrailers.apple.com/movies/sony_pictures/passengers/passengers-trailer-1_h1080p.mov Trailer came out today, releases same day as Rogue One. Sci-fi pic about a man & a woman waking up 90 years too early on a spaceship, and everything that ensues. Morten Tyldum (The Imitation Game) is directing and the Black List script has been around since 2007, written by Jon Spaihts (early drafts of Prometheus, Doctor Strange), Keanu Reeves was attached for a while, so were Emily Blunt, Rachel McAdams, etc. Rodrigo Prieto shot this on Alexa 65 & Primo 70 (at least, that's what IMDB says, the Alexa 65 stuff is 100 % true though). This is definitely, along with Live By Night, some of the best Alexa 65 footage I've seen, Prieto is a great great DP, looks cool. On an unrelated subject, I was wondering. At about 10K a day for Alexa 65 + optics + Codex Vault 65 rental, how do these big productions (like Assassin's Creed, Live By Night, etc) justify shooting on Alexa 65? It'd be much cheaper to shoot on film, hell, maybe 65mm would be cheaper than Alexa 65, I don't really get it, not to mention the insane logistics that must be involved in processing the footage, and that kind of data. Maybe the 6K rez is great for the VFX people, but it's not like anamorphic 35mm is that far off.
  14. LOS ANGELES (August 15, 2016) - The 38th edition of The Reel Thing, a three-day symposium addressing audio/visual restoration and archiving, will explore the constantly evolving ecosystem of film and digital restoration and preservation. This year's program will examine legacy film restorations and showcase modern technologies being used to futureproof collections and keep them viable for future display and distribution formats. The event will take place August 18-20 at the Academy's Linwood Dunn Theater in Hollywood. In addition to discussions with industry leaders, premiere screenings of several restored films are scheduled, including the original, uncensored version of John Huston's BEAT THE DEVIL; Marlon Brando's single directorial project ONE-EYED JACKS; and Robert Altman's MCCABE AND MRS. MILLER. Created and co-founded by Grover Crisp, executive vice president of asset management for Sony Pictures, and Michael Friend, director of digital archives and asset management at Sony Pictures, the event supports the programs and services of the Association of Moving Image Archivists (AMIA). "At The Reel Thing, our presenters continue to demonstrate the recovery of the achievements of the first century of cinema even as we assess the challenges presented by the first decades of digital moving image culture," says Friend. "Ever-more effective tools are being devised to address the mechanical and optical challenges of film restoration, and significant new technologies for the long-term preservation of digital data are rapidly evolving. At the center of this activity, technicians, archivists and the rest of the subjective human audience for cinema continue to examine, refine and redefine our understanding of the notion of preservation for both analog and digital moving image art." "It is an exciting time for the archival community as we address the changing technologies that help to preserve collections and our cultural heritage, whether it is film, audio, video or any flavor of digital you choose," notes Crisp. "Our audience is interested in the problems and potential solutions surrounding how we can cope with the issues we encounter in this still hybrid analog/digital landscape we find ourselves in." Presentations at The Reel Thing will feature expert-guided discussions on such topics as UHD/HDR, scanning, color correction, frame rate adjustment, color space and gamut. Case studies on the approach to preserving legacy films in higher quality standards and the processes applied will highlight several panels. Audio restoration will also be explored, looking at the latest technologies in sound. Speakers are expected to include: Michael Pogorzelski, Academy Film Archive; John Polito, Audio Mechanics; David Marriott, Lynette Duensing and Craig Rogers, Cinelicious; Lee Kline and Ryan Hullings, The Criterion Collection; Chris Reynolds, Deluxe Entertainment Services Group; Steve Kochak, Digital Preservation Laboratories, Inc; Wojtek Janio, Fixafilm; Andrew Oran, FotoKem; Gilles Barberis, L'Immagine Ritrovata; and Snowden Becker, UCLA, among others. For more information and to register for The Reel Thing, go to www.the-reel-thing.org. The symposium offers several registration options, as well as discounts for certain industry groups and students.
  15. Hi Guys, does anyone have experience with shoting Sony FS7 + anamorphic lenses? Is it doable technicly- I mean like a desqueeze option in the menu, or is it done in a difrent way? I have a choice to shot a project with Alexa and prime lenses, but I woud rather go for a cheaper camera with S log and use more expensive anamorphic lenses for their look. Thanks for any advices
  16. For sale is a CHRISTIE CP2000X DLP Cinema HD-2K Projector and Christie 7 KW Ballast. The machine is in good working condition and free of technical defects. We can also service your projector. Contact for more details, picture is reference only. Price $13,000.
  17. Check this out. A new indie theater is set to open on Manhattan's Lower East Side featuring both digital and 35mm projection. Metrograph
  18. I wanted to post this conversation in the forums. Here is the original reddit post: https://www.reddit.com/r/Filmmakers/comments/40812r/steve_yedlins_obsessive_film_emulation/ Here is Yedlin's video source: http://www.yedlin.net/DisplayPrepDemo/# And here is his conversation with Mario Carvalhal: http://www.yedlin.net/160105_edit.html Very logical reasoning.
  19. Hi, my friend is selling his Scarlet kit, in mint condition, low hours, never rented. Located in Slovakia, Central Europe. https://www.kitmondo.com/used-red-scarlet-x-for-sale/ref638020
  20. Could someone walk me through the process of rating the Asa of a digital camera?
  21. Used ARRI Alexa M 4:3 in stock. Excellent condition. £19,500 GBP (ex VAT) Condition: Used Warranty: 6 Months Op hours- 1000 Case Containing: ARRI Alexa M Camera Head ARRI Alexa M Body BAB-G (Gold Mount Battery Adapter) Bundle Accs Set for Alexa M Center Camera Handle (CCH-1) Handle Extension Bracket (HEB-2) CCH-2 Alexa M (Head) Camera Handle AMC-1 Alexa M Cage -Consisting Of: Side Bracket Bottom Plate 15mm LW Bar Bracket MEDIA M Handle Syst. - Consisting Of: Side Handle (15mm Bars Fitted) Top Plate - Small Bottom Plate SD Card (ASD-1) 12v 2pin Lemo - 4pin XLR BP8 Bridge Plate ( Short ) Balance Plate 19mm / 440mm Bar (Long) 19mm / 240mm Bar (Short) 15mm Lightweight Bar - Short 240mm 24v Camera / Battery Cable 2m Lightweight SMPTE Fibre Cable Sony 64gb SxS Card Sony 64gb SxS Card Sony 64gb SxS Card 20m SMPTE Fibre Cable (9mm Dia.) Please contact me at Casey@esbroadcast.com if you require any further information.
  22. Codex CDX-3010 Kit £3,000 GBP (ex VAT) Condition: Used Warranty: 3 Months Case Containing: Codex Onboard Recorder CDX-3010 Onboard Control Panel CDX-P065 Codex Recorder Handle CDX-P064 Control Panel Fixing Plate 6-6pin Panel Control Cable Long 5p Lemo - 3p RS Power Cable Dual Mini BNC Loom 4p XLR - 5p LEMO Battery Power Cable 4 x Codex M Flash Pack (256gb) CDX-P300 Please contact me on Casey@esbroadcast.com if you require any further information.
  23. Excellent condition and maintained and serviced by ARRI Media. £17,000 GBP (excluding VAT) + Shipping Camera Case ARRI Alexa PLUS Camera Body inc High-Speed License High-Speed License BUNDLE ACCESSORY SET ARRI EVF-1 Electronic Viewfinder ARRI Alexa Rubber eyecup ARRI VMB-1 Viewfinder Mounting Bracket ARRI VEB-1 Veiwfinder Extension Bracket ARRI KC150-S Short (0.35m / 1.2 ft) Cable for EVF-1 ARRI KC151-S Medium (0.65m / 2.1 ft) Cable for EVF-1 ARRI CCH-1 Centre Camera Handle for Alexa ARRI HEB-2 Handle Extension Block ARRI KC154-SP-S Cable 12V Accessory for Alexa ARRI KC20 24v 2m/6.6ft Cable Power - Straight ARRI BP-12 Bridge Plate ARRI Bottom Dovetail 300mm / 12" (Balance Plate) ARRI 440mm Ø 19mm Support Rods (pair) ARRI Lightweight 240mm Ø 15mm Support Rods (Pair) ARRI SP-4 Shoulder Pad ARRI LB-1 Levelling Block ARRI ASD-1 SD Memory Card ARRI SxS Pro 32GB Memory Card ARRI SxS Pro 32GB Memory Card ARRI SxS Pro 32GB Memory Card ARRI SxS Pro 32GB Memory Card ARRI SxS Pro 32GB Memory Card ARRI UMC Antenna ARRI White Cap BAB-G (Gold Mount Battery Adapter) Please email me at Casey@esbroadcast.com if you require any further information.
  24. As I understand it, most big-budget feature movies record on film as opposed to digital; the common claim being that film provides a much more cinematic image, etc. Does anyone think that we'll come to a point when digital cameras are able to produce an image, indistinguishable from film - and that cinematographers will choose digital over film due to artistic choices instead of being led by financial considerations?
  25. What is the difference between a traditional digital camcorder that looks like actual video made for multi cam productions like soap operas, & camcorders like Arri Alexa that look as much like film as digital technology can manage? Is it the frame rate? Depth of field? Shutter speed? Resolution? Something ridiculously complicated? What is it about these cameras that makes the footage look that different from one another? Additionally, what is the official wordage to differentiate between these 2 types of digital camera? The film-mimicking one has a large possibility of names (like ‘film-style digital motion picture camcorder’), but what about the one that produces traditional video footage?
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