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Found 13 results

  1. Hi there, I would like to buy Zeiss Super Speed MK3 50mm lens. sdragin (at) gmail.com
  2. Hey, I used these LIFX A60 LED bulbs last week with good results - https://uk.lifx.com/collections/featured-products/products/lifx - Has anyone had experience using them for high speed shooting, and do they have flicker issues? We're looking to shoot 120FPS Cheers, Greg
  3. Hi all, I'm starting prep work for my college thesis at Emerson and I'm researching into the different challenges with shooting the project on film. I'm particularly thinking 16mm, just for budgetary reasons, and can't seem to find a Super 16mm camera that shoots up to 300 fps other than scientific/military cameras. The film is about a track athlete, so I'm wanting to get some very beautiful, frozen moment shots of our talent running. Does anyone know of any cameras that shoot as high as 300 fps? I see most of the HS cameras from Arri only go up to 150 fps. Thanks!
  4. I need to film some items falling and want to slow it down so it takes 15-30sec to travel from top to bottom of frame at a play back speed of 23.976fps. Any recommendations of what frame rates I should film in and what what high speed camera I should rent?
  5. Hello all, For sale is an Alexa Classic with the high speed license and anamorphic de-squeeze. The package is in excellent technical and optical condition, not new but will work perfectly. 14 day warranty included, returns at the shipper's expense. The camera has 4181 hours. $22,000 Included: Alexa EV-1 DTE- Module CCH-1 Center Camera Handle WA-1 Wedge Adapter EVF-1 Electronic Viewfinder VMB-1 Viewfinder Mounting Bracket Findercable 350mm V-Mount Battery Adapter 5 Sony SxS Cards 32Gb High Speed License Anamorphic De-squeeze License
  6. I am selling my Arri Alexa Plus 16x9 High Speed camera package. I am located in Los Angeles. Operating Hours: 2696 Asking Price: $25,000 Link to Photos: https://www.dropbox.com/home/Arri%20Alexa%20Plus%20Photos Email: jhonore31@gmail.com Arri Alexa Plus Camera Body - Serial #2735 High Speed License Arri EVF-1 Electronic Viewfinder Arri VMB-3 Viewfinder Mounting Bracket Arri Viewfinder Cable Short Arri Viewfinder Cable Medium Arri CCH-1 Centre Camera Handle Arri HEB-1 Handle Extension Block Arri WA-1 Wedge Adapter Arri BPA-2 Bridge Plate Adapter Arri SP-4 Shoulder Pad Arri BAB-4 Battery Adapter Back for Gold Mount AC Power Supply 3 x 32GB Sony SxS Memory Card 2 x 64GB Sony SxS Memory Card Sony USB 3.0 Memory Card Reader Lexar 2GB SD Card Swiss Tool - Large & Small Custom Hard Case
  7. Looking for/want to buy: Zeiss "Super Speed" / "High Speed" Distagon 1,2/25mm MkII Please contact me with a private message and kindly provide your email address for further correspondence. If you are not sure which series lens you have (MkI, MkII, MkIII) do not hesitate to contact. You can also check from the list below; manufacturer: Zeiss type: Distagon series: MkII (not marked) focal length: 25mm aperture: f1.2 / T1.3 - 16 coverage: Super 35mm mount: PL iris: 7-blade (not 9-blade triangular) focus: both metric and feet markings, ~350° focus throw Kind regards, Tuomas Viitakoski
  8. Hello everybody, I'm on preproduction for a documentary and I need to set a greenscreen shooting light with fluo. I need to be at 250 fps, 1/100 shutter speed and I look for fluo ballast for this. Is anybody already experienced this ? Do I need a electronic 300Hz ballast ? Have you any advice about bulbs. Thank you.
  9. Hi, I recently had an opportunity to shoot on film for the first time in my life (crazy, I know) and a question came up which left me thinking.. Apologies as it's probably a very noob question: When I shoot slow/fast motion on digital, I change the shutter speed to maintain the same motion blur as for the 'normal' speed, i.e. shooting on 25p, 1/50 'normally' and then do 50p for instance, I shoot at 1/100 to have the same amount motion blur. Assuming you want the same motion blur, how would you do this shooting on film? I am right in understanding that 180 degree shutter angle will remain 180 regardless of what frame rate you shoot? I.e. shooting 25fps and 50fps means that the shutter turns twice as fast to maintain 180 degree shutter angle? I hadn't noticed but was told that Red has an option for shutter to have either a shutter speed (1/xxxx) or angle (degrees), does this mean if you want to shoot everything at 180 degrees, you don't have to keep changing the angle for different fps? But surely, even if you can capture everything at 180 degrees, in playback, there will be variations of motion blur as the angle was relative to the fps? I.e. 25fps has 180 degrees and 50p has 180 degrees, but compared to each other, they don't match? I would've automatically calculated the difference between the degrees when under/overcranking and changed the shutter accordingly, but I was told by two working AC's that this is incorrect... If anyone can shed any light or knows of any resource on this, I'd really appreciate it! Thanks, PJ
  10. I'm shooting a person with images being projected on them by a Epson 8350 Digital Projector. I want to shoot at a high frames per second (120fps) or a high as I can get a way with... The problem is the viewfinder and monitors show an unwatchable bad amount of pulsing light flicker. Does any one have any advice on how to do slow motion with a projector light in the shot and on a subject to mitigate or preferably all together stop flicker/pulsing light look?
  11. Hello I have a project where we need to capture a golf swing which apparently reaches speeds of around 100mph. It needs to be shot green screen and of course the golf club needs to be free of motion blur (as much as is realistic to achieve) throughout its travel. Now I haven't done much high-speed work before but I do know this is going to need a staggering amount of light, not only for the golfer but the green screen too. It will be shot on location so no access to large lights, so my thoughts are to shoot exterior daylight using Phantom. Any idea of suggested frame rates and shutter speeds, and of course light required for this type of work? My low-budget option was to shoot on location with Kinoflo and F55 at its highest frame rate; but I just don't think the golf club will remain sharp throughout. Many thanks Steve.
  12. This was a test conducted a while ago but thought you might find it useful here. Compared in this shootout are the Leica Summilux-C, Zeiss Master Primes, Zeiss Super Speeds, Zeiss CP.2 Super Speeds, Canon CNE Primes, Canon K35's, Optica Elite Primes, and Luma Tech Illumina Primes. Lenses are compared wide open and at t2.8. All samples are available for download in jpeg and in R3D. Have a look and hope it's useful to you. http://matthayslett.com/salt-iii-high-speed-lens-shootout-wfo/ "Mission Statement: The purpose of this shootout was to directly compare lens sets on an identical setup. Our goal was not to “test” the lenses, rather provide you with all the info necessary to evaluate the lenses and decide what works for you. These lenses cover a wide range in affordability and availability. This shootout was never meant to prove which set is better than the other. We hope you will see that any of these lenses could be used to shoot quality material and have been for years. We attempted to get Cooke 5i’s for the test but unfortunately none were available at the time. Some of the lenses have slightly varying focal lengths so understand field of view may appear slightly different (i.e. 24mm vs 25mm, 75mm vs. 85mm). Please also keep in mind the slight differences in exposure since we were working with lenses rated between T 1.3 and T 1.5. No matte box was used to insure there was no vignetting or concealing of flares. All images have not been adjusted or corrected anyway. A white balance adjustment is all that has been made. We all know these lenses perform well closed down to a T 2.8, so this shootout was designed to push the lenses to their limits wide open. Most of the flaws visible wide open disappear once stopped down(examples will be available for download)." Projection: The below results were attained using the lens projector at Duclos lenses that is set up in it’s own room, specifically for the purpose of evaluation of optics on an even playing field. The same projector and screen were used for all lenses and the distances were maintained for the equivalent focal lengths (3′ for wide lenses, 6′ for teles). A loupe was used to determine resolution in line pairs per height and width for the Center, Field (middle) and edge of the frame based on a super 35mm motion picture frame. All of the findings below should be interpreted as applying only to the S35mm frame in which the lenses are designed to cover. Numbers are specific to each lens wide open. Lastly, although we did measure the lenses in line pairs this is an observational procedure and rather than deal with the political ramifications of publishing these absolute numbers we’ve decided to present them as they apply to the S35 sensor in the Epic and Scarlet. The data presented below is such that even measurements with a “Fair” grade will, for the most part, resolve the full resolution of the sensor. Notes: Where you see notes in the table below represent specific observations, if a field is blank that means that the lens performed average for that metric. If it was either better or worse or particularly apparent it was recorded. Perspective: Keep in mind these are purely technical numbers and do not speak to the cinematic look and quality the lenses exhibit in a real world scenario. Duclos Evaluation PDF (Click to download) Torture Test: This shot was designed to push all the lenses to the edge. If you plan on using these lenses wide open you need to view them at their worst. This test will show the differences in Resolution, CA, Contrast, Flare Characteristics, Bokeh, Breathing, Distortion, and Color Rendition. The test was performed both wide open and at T 2.8. For each focal length increase, the camera was moved back to maintain a similar frame for every lens. The test was captured with the Red Epic (5KFF, 320ISO, 23.976fps, 3:1 compression, 3200K) due to the high resolution sensor and ability to change lens mounts in a minute. Shutter speed was used to control exposure. Focus was confirmed for each lens in a 3 step process. First using the built in focus assist function, then by eye off the siemens chart, and finally confirmed on a 1080p on set monitor. All this was performed after the distance was confirmed with a tape measure. Here is a look at the test in action: Beauty Test: This test was designed for the telephoto lenses of each set. We wanted to see how each lens treats a human face both wide open and again at T 2.8. Focus was set to the left eye closest to the camera with the same three step focus confirmation. We have to give a big thank you to Stephanie from Duclos Lenses for being our test subject. Shutter speed was used to control exposure. Shot on the Red Epic (5KFF, 320ISO, 23.976fps, 3:1 compression, 5000K post adjusted). In action: Video: The video comprises both the Torture Test and the Beauty Test. It’s just shy of an hour but make sure to watch the entire thing. Hope the music makes it a little more entertaining for you! Keep an eye out for the areas highlighted below. This will give you a baseline indication for comparison. View downloads at 100%. http://www.youtube.com/watch?feature=player_embedded&v=xap3FJDcCUw Comparisons: (Wide Open) Available on website: http://matthayslett.com/salt-iii-high-speed-lens-shootout-wfo/ Conclusion: It’s safe to say the torture test is rather harsh for all of the lenses (except Leica Summilux-C and Master Primes) while all perform well on the Beauty Test. Like I said earlier this shootout wasn’t intended to pick a winner, but really to compare and contrast between the sets. As you can see in this example the Leica’s and the Master Primes come out as the most rounded of the lens sets. This test is definitely not definitive and each real world shoot has a specific need or look and varying budget. A set that works for one project may not work for the next. Download the test material which is provided in the links above and have a look for yourself (both R3D grabs and stills are available for each set). Before you make any conclusions I would urge everyone to perform their own tests if possible. Those of us who put this shootout together would like to thank all of you for taking the time to view this and hopefully you get as much out of this as we have. Visit the webpage to download all the files and 4K video: http://matthayslett.com/salt-iii-high-speed-lens-shootout-wfo/ Matt Hayslett Director/Cinematographer Los Angeles, CA. matthayslett.com
  13. Very Rare Super 16mm high speed camera package for sale. Camera shoots up to 200 fps! The Milliken's reliability has earned it the highest rating by cinematographers and assistant cameramen worldwide. Picture quality is exceptional at all speeds, made possible by the unique Milliken pin-registered intermittent movement. The register pin stops the film and locks it during exposure. The result of this unique movement is sharpness and steadiness that meets the highest Film and TV Industry standards. This camera has been used on multiple award winning surf films and by some of the worlds best water cinematographers. This is a complete package that comes with 2 lenses, water housing, heavy duty travel bag, and much more! I hate to let this gem go. It's very rare to find a complete S16 mint package of these cameras. - High Speed Super 16mm Milliken DBM 4C Camera • C-Mount re-centered for Super 16 • Camera aperture opened up to Super 16 specifications: (.295 x .492) • Original camera timing light assembly removed. • Camera rewired for RCA power plug. • Intermittent film movement & sprocket rollers modified for single perf. film operation • 2 Batteries • Charger • 3 Shutter Speed Options: 72° (installed), 140°, 160° • 8 200ft. Empty Film Rolls • 7 400 ft. Film Cans • 64, 200fps Motor Installed - Additional 128, 400fps Motor Included • Custom Built External On/Off Switch for easy use out of water - SPL Water Housing This professional housing is constructed of ultra light- weight aluminum, sheared and formed on a sheet metal press brake and then welded solid by a certified welder. All aluminum is hard anodized to protect against salt- water corrosion. The housing is painted with an industrial powder coat paint. Depth rating is 15-20ft. This housing can handle any size surf you have the nuts to swim into. • On/Off Switch • Dual side detachable handles - Milliken Boresight in Original Wooden Box - Porta Brace Camera Bag It's made from 1000 denier Cordura fabric with a comfortable suede shoulder strap. The lightweight, rigid-frame design provides maximum protection for your camera and accessories, and comfortable carrying for you. - Som Berthiot Pan Cinor 17-85mm 1:2 Lens Super sharp and fast zoom lens. Vignettes slightly at the wide end. Viewfinder Included to use camera on land with visual focus and zoom capability. Clean cosmetics, clean optics, no fungus, no separation, no haze, no oil on the aperture blades. The focus runs smoothly. The zoom lever is missing but doesn't effect the lenses operation at all. - Computar 12.5mm 1:1.3 Lens Sharp, Wide, and Fast. Covers the Super 16mm frame easily. Very clean cosmetics, clean optics, no fungus, no separation, no haze, no oil on the aperture blades. The focus runs smoothly. UV filter.
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