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Found 13 results

  1. Last March I had the chance to work on a commercial that was the biggest project I had undertaken as a cinematographer and I wanted to share the experience with you all! Director was Ian Power (same director I had worked with on The Tattoo) and I was super excited to come on board and work with him again. ESB - A Brighter Future To me it was a very emotional journey because of the scale of the project. We had to shoot LOADS of locations with very limited time, crew and money over 4 days. We usually had to shoot 4 locations each day with whole unit moves and each unit move took around 1 1/2 hours (more or less). The good thing about it is that I learnt a lot about negotiating times, spaces, how to manage everybody and how to keep cheerful and happy while making sure that the negative things didn't affect me or the crew! It is such a skill to have! And as one of my friends told me: "You're only shooting one location at each time" :) We used two Alexa Minis and Master Prime lenses with a lot of diffusion, different filters for different eras. There was a storyboard but what we did was using the storyboard as a guide and once we entered the locations (which we spent a month looking for) we blocked everything so we made sure that we were going to use our limited time on each location super well and we had time to shoot the storyboard stuff and find some other interesting angles without having to change the light... so we ended up shooting a lot of "found frames" and some of them ended up on the commercial, which is really nice. My lighting package wasn't very big, I had 3 x 6Ks, 1 x Skypanel, some fluorescents, some 12 x 12 frames and loads of bulbs.. and a marvellous gaffer called Dave Durney who put together a magnificent team who worked tirelessly! It is on tv, cinemas, online, etc, etc in Ireland and UK since July 1st so if you're in those two countries it is highly likely that you will catch it :) I hope you enjoy it! Have a lovely day!
  2. Selling a set of 4 Arri MP's that a friend of mine privately owns. $20,500 USD each. 21mm 32mm 40mm 75mm Located in Brooklyn, NY. Thanks, Norm
  3. I am selling 3x ARRI Master Primes Sets. Set 1 (Set of 9): 16mm, 21mm, 25mm, 27mm, 32mm, 40mm, 50mm, 65mm, and 75mm - 144,000 Euros Set 2: (Set of 11): 16mm, 18mm, 21mm, 25mm, 27mm, 32mm, 40mm, 50mm, 65mm, 75mm and 100mm - 184,000 Euros Set 3: (Set of 12): 16mm, 18mm, 21mm, 25mm, 27mm, 35mm, 40mm, 50mm, 65mm, 75mm, 100mm, 150mm - 197,000 Euros The price of Master Primes are all going up May 21st as well, so these are a very good deal. All are in excellent condition. Please PM if interested. Thank you, Norm
  4. Hello... Arri Master Primes lenses and Arri Alura Fujinon Zoom including all accessoires for sale! Super Price: $77,000USD Email: info@funecycle.com Here the list: Arri Alura Zoom Fujinon 18-80mm T2.6 Arri Master Primes 25mm T1.3 Arri Master Primes 35mm T1.3 Arri Master Primes 50mm T1.3 Arri Follow Focus FF5-HD for 15mm rods Short rods (12 niches) 2X Long rods (18 inches) 2X Arri Focus Lever (Speed crank) Arri 13,5" Follow Focus Whip W. Knob Arri flexible shift short (300mm) Arri LS-10 Alura 18-80 lens support MB-18 Production Matte box 3 stages filters 4 X 5,6.5 2 stages filters 4 X 5.65 4 Tiffen filtres ND .3, .9, 1.2, polarizer MB-18 shade box Set of marks 35mm Aluminium case for Arri Alura 18-80 Aluminium case for the set of 3 master primes Aluminium case for MB-18 complete kit. Here links for pictures: https://app.box.com/s/is4okbcijss0hx5xd9qa5htzixe25ued https://app.box.com/s/uc9f9nccw9r9x8e9okrupgcan6colpgl https://app.box.com/s/oeu3t9s62w28m2zejtw66t6bbsuqte8t https://app.box.com/s/9kyp03vayl7slg58t3tcugickhh4u9hm https://app.box.com/s/j52gnihc1svrle1j4plfuvzchcqhuqp7 https://app.box.com/s/k34tjil5si3q0jfwbkaex1l3gdmvr89k https://app.box.com/s/pqe2rvdr3pivlpbbrr7xjbrd9fxe1grf https://app.box.com/s/ehk5v2drogl7e3bzh6sj43pt09halxt7 https://app.box.com/s/qk13s3skb85qp8n4t00oy2ar9eekm60g
  5. Please email sales@broadcastsolutions.com for pricing and details. For Sale : JUST LISTED (PRE-OWNED) : Cooke S4 Lens Set Includes: 14/18/25/32/40/50/75/100mm Feet Cooke Varotal 20-100mm T3.1 Zoom Lens Arri Ultra Prime Lens Set Includes: 16/24/32/40/50/65/85/100/180mm Feet Arri /Zeiss Master Prime Lens Set:16/25/35/50/75/100mm Feet Arri/Zeiss Master Prime Lens Set:18/25/35/50/75/100mm Feet BRAND NEW Fujinon 20-120 T3.5 PL Mount Cabrio Lens w/Original Box ARRI Alexa XT Plus Camera Package C Motion System Details Below CINEMA LENSES: Cooke S4i Mini Lens Set 18/25/32/40/50/75/100/135mm (Can sell as set of 6) Cooke Optics Speed Panchro Prime Lens Set 18/25/32/40/50/75mm Re-Housed Zeiss 14mm Standard Speed T2.1 Lens Zeiss 16mm Standard Speed T2.1 PL Mount Lens Zeiss 35mm CP2 Super Speed Lens Zeiss 18mm CP.2 T3.6 CF 12" Prime Lens Angenieux Optimo 16-42mm Zoom Lens Angenieux Optimo 30-80mm Zoom Lens Angenieux Optimo 17-80mm Zoom Lens Angenieux Optimo 28-76mm Zoom Lens Angenieux Optimo 15-40mm Zoom Lens Angenieux Optimo 24-290mm Zoom Lens Angenieux Optimo 45-120mm Zoom Lens Angeniuex 25-250mm HR T3.5 Angenieux 17-102mm T2.9 Arri/Fuji Alura 30-80 Zoom Lens Arri/Fuji Alura 15.5-45mm Zoom Lens Fujinon Cabrio 19-90 V1 Zoom Lens Fujinon Cabrio 19-90 V2 Zoom Lens Canon CN-E 30-300mm Lens Canon 150-600mm T5.6 Red 18-85mm Lens Red 18-50mm Lens Red Pro Prime Set (6) Lenses Cooke Varotal 18-100mm T3 MKII Zoom Lens Cooke Varotal 25-250mm T3.9 MKII Zoom Lens Cooke 20-100mm T3.1 Lens Sony FE PZ 28-135mm f/4 G OSS Lens 2/3” HD ENG LENSES: Canon HJ11ex4.7B IRSE Just Refurbished By Canon Canon HJ14EX4.3B IRSD PS12 Canon HJ17x7.7B IRSE Canon HJ22ex7.6B IRSE Fujinon 80X Digi Lens Digi Semi-Servo SD Latest Generation. Incl: Sled & Case Fujinon HA13x4.5 BERM-58 w/2x Fujinon HA18x7.6 w/Servo Zoom Fujinon HA23x7.6 BERM-M58 Fujinon HA25x16.5BERD Fujinon ZA22x7.6 BERM-58 w/2x Fujinon ZA12x4.5BERM-M58 Zeiss Digi Prime 70mm Zeiss Digi Prime Lens Sets Available Zeiss Digizoom 6-24mm B4 Mount HD Lens 2 Available Zeiss Classic ZF.2 Distagons in F Mount (Nikon Mount) with Duclos Cine-Mod Angenieux 5.6-61mm Cinema B4 Mount Lens 2 Available S16mm LENSES Canon 7-63 T2.6 S16 Zoom Lens Canon 11.5-138 T2.5 S16 Zoom Lens Optex 5.5mm Super 16 T1.9 Zeiss Variable Lens Set VP-1,VP-2,VP-3 T2.2 CAMERAS: ARRI Alexa XT Plus Camera Package ARRI Alexa Studio Camera Package ARRI Alexa Plus 4:3 Camera Package ARRI Alexa Plus 16:9 Camera Packages ARRI Alexa EV 16:9 Camera Packages ARRI Alexa-M 4:3 Camera Package Red Epic Dragon Package Vision Research Miro Package Sony PMW-F55 Camera Package w/Pro Res Card. New Condition Sony PMW-F55 Camera Package Sony PMW-F5 Camera Packages Sony PXW-FS7 Camera Package Sony PMW-200 Camera Package Panasonic AJ-HPX 3700 Camera Canon C300 EF Mount Camera Package Sony PMW EX3 Camera Packages Sony PMW-EX1 Camera Package Cameras : (Film) ARRI 435 film camera ARRI 535 film camera ARRI SR III film camera C Motion System Precision Linked Motorized controls for Focus, Iris, Zoom, or Convergence Control Includes: 4 Motors, 2 Cayman Command Units, 1 Hand Control Unit Run/Stop Control, 3 Batteries, 2 Chargers & Accessories. Just Serviced In Germany Thru C Motion 3D 3ality Element Technica Quasar 3D Rig Email For Details Genus Hurricane 3D Beamsplitter Rig GRIP TRUCK Chevrolet 2008 5 Ton Diesel Truck 169K Miles 60" Liftgate w/Tilt & Pig Tail Control System Includes Grip & Lighting Package Email for the details. AVID Avid Unity Media Engine 5 48TB Unity 5 [unity MediaNetwork 10 Port Fibre Channel, 16 TB Media Engine PLUS 2 16TB chassis [for a total of 48 TB of storage]. Need To Purchase Items Below: Preowned Vision Research 4K Camera Package Vision Research Phantom Flex 2K 32GB Body Only Arri Alexa Mini Packages Arri 416 Camera Packages Zeiss MKII or III Set Of Lenses Zeiss MKII 18mm Lens Zeiss Vario Sonnar 16.5-110mm Sony SR-D1 Memory Drive Unit
  6. Selling a set of 6 Arri Master Primes. 18, 25, 35, 50, 75, 100mm. T1.3's. $129,000 US. Please email or PM if interested. These will go fast. Thanks! Norm
  7. We have new Master Primes in stock! Fred Salaff FJS International, LLC www.fjsinternational.com +1 323.328.0681
  8. Hi, I have the following Arri/Zeiss MP's for sale: 12mm - $31,600 USD 16mm - $24,150 USD 25mm - $21,200 USD 32mm - $20,900 USD 35mm - $20,000 USD 100mm - $25,000 USD Please email me at nli@q-films.com or PM if interested. Thanks, Norm
  9. Hi All, Looking to purchase used ARRI Master Prime Lens set or ARRI Ultra Prime Lens set as my second set. Please let me know if you have or know anyone lens for sale. Aj Ay aj.ay@aol.com
  10. Arri Master Prime Lens Set Includes : 14,18,25,35,50,75,100&150mm Includes 3 Shipping Case's. Email-sales@broadcastsolutions.com for pricing and details.
  11. 18,25,35,50,75&100mm Contact sales@broadcastsolutions.com for pricing and info.
  12. Im up to DP my third feature and we are shooting for 20 days. Its pretty ambitious for the budget but we arent doing anything super crazy - it is very much like the movie Prisoners in tone, story and cinematography. The Producer is wanting to shoot single camera, as to not have to spend money on the extra B camera, crew and post costs that come with more footage, and instead is in favor of getting more gear to make a better A camera. My initial thought was that we would need two cameras to make our days (I shot two cameras on my last feature, which was a comedy, and being able to leap frog with setup/shooting and get extra shots in when needed I felt saved us alot of time, and that is what I am pretty comfortable with. my first feature was single camera, but it was all handheld and a much much smaller scale.) This show is 100 percent sticks and dolly, some jib with occasional steadicam. Another thought was to shoot single camera mostly from a small technocrane (thinking the mini 6'-12' technocrane ,moviebird 17 or chapmans Hydrascope 15', I want to use it for interiors and my thought was anything larger might be too large for int scenes.) now I have never used a technocrane, but from what I have read and talking with my Key grip, I have heard they can save alot of time on set, and much are faster than dolly and sticks because I could get most if not all all my shots from a single setup. but they are expensive for sure.. Something to consideration is that I am working with an awesome first time director, but for his sake I thought single camera might be easier for him so he can focus on the one frame and not have his(and my own) attention shift between two cameras, so I feel the end product could benefit from single camera. And making him as comfortable as possible is high on my priority list (I normally operate, but Im choosing to get an operator so I can be with him at video village and support him the best I can) Another idea is having a remote head on a fisher 23 Jib arm on the Fisher 10 dolly in place of a technocrane like deakins does. I have my own thoughts, but in yalls opinion, how would that compare to the technocrane approach? I would love some opinions and advice! Getting a 2nd camera package and crew for it, or single camera on a small technocrane or remote head on jib? The producer is pretty open and trusts me, and I know if I make my case for either one, there is a good chance I'll get what I ask for. Thank you all so much! Chaz
  13. 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
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