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CAMERA IS NEW IT HAS ONLY 15HRS OF OPERATING TIME, IT COMES WITH ADDITIONAL ACCESSORIES. CAMERA 1 ARRI Alexa LF Camera Body with LPL Lens Mount & Cap 1 ARRI Top Camera Center Handle CCH-4 1 EVF Electronic Viewfinder for Alexa 1 EVF Mounting Bracket 1 EVF Extension Bracket 1 ARRI BP-13 Bridge Plate 15mm Sliding Baseplate 1 ARRI Dovetail For Sliding Baseplate 12" Inch 2 15mm rods 10 Inch MEDIA 1 SxR Adapter for Alexa 1 SxS Adapter for Alexa 2 SxR Capture Drives 2TB w/ Cases 1 SXR Card Reader Codex 1 Cable: Thunderbolt 1 Cable: Card Reader to AC Power 1 SanDisk 64GB SD Card CABLES 1 EVF Cable (KC 150-S) 1 ARRI 4-PIN XLR to 2-PIN LEMO 12V Cable -3ft 1 24V 3-PIN XLR to @ PIN FISCHER Cable - 10ft AC POWER 1 XLR 3pin to AC Power Box Cameo 24V/220W LENS ADAPTER 1 Lens Adapter LPL to PL Mount ARRI WIRELESS RECEIVER SET 1 Arri WVR-1 1 Arri MIA-1 Bracket 1 Cable: USB to Micro USB 1 Cable: Power Box to 3pin female 1 Cable: 2pin to Edison 10 Antenna Rx TX for Alexa LF & Receiver BATTERY ADAPTERS Wooden Camera 24V Sharkfin battery bracket for Alexa LF (V-Mount) ARRI LF CASE Case for ARRI ALEXA LF FILTERS ARRI Alexa SFND Filters full set with case. PURCHASE PRICE OF ARRI ALEXA LF PACKAGE IS $135,510.00 OUR ASKING PRICE IS $113,255.00. BEST OFFERS ARE ACCEPTED PLEASE CONTACT US IF YOU HAVE ANY QUESTIONS. Email- firstname.lastname@example.org NOTE: THE LENS IN THE PICTURES IS NOT INCLUDED IN THE BUNDLE
I am looking into large format these days. The question came from the director I'm working with at the moment - and is the following: is there anything gained from using lenses with larger image circles then your sensor? I was suggesting to shoot on the Leica R lenses for various reasons - he asked about the hasselblad whitepoint lenses - presuming they are better cause they cover a 65mm imager. When thinking about this I realized two different bits of information came to mind: my instinct is; the more the lens' image circle exceeds the imager's size, the less quality will be lost towards the edges of the image - lenses perform better in their center and then gradually degrade as you move away from the center. I have also heard people express their believe that you should match Image Circle with imager size - the argument being that this way you get to see the lens' full image, full range (from sharp center to softer edges) "nothing is lost". Is there anyone out there that has tested different IS lenses on LF/FF formats? Did you see any pattern in terms of the relation between IS and size of the imager? Is it just a matter of taste; if you want inperfections 1=1, if you want very consistent images on which the lens is consistent from edge to edge then go 2 vs 1 or even 3 vs 1 (like a 65mm lens on a 16mm sensor?) Many thank! Seppe
G'day everyone, So, I compared some stuff and wrote a thing: http://dreamsmiths.com.au/blog/why-bigger-is-better-but-not-much-else If you're interested in the objective differences of large format cinematography to regular S35mm images, you might find it worthwhile. It's a quick test comparing regular S35mm Alexa, matched for both field of view and depth of field against the shiny new Vistavision-sized sensor of the Alexa LF, using spherical lenses. If you click through to the vimeo link, you can download the full 4.4k ProResHQ file in all its glory, which I'd highly recommend pulling into a piece of grading software to look at up close. The test certainly helped clarify a few things for me. Cheers, Mark
Continuing 25 years of support, Panavision once again celebrates the art and craft of moving pictures with filmmakers at the Camerimage International Film Festival of Cinematography, which runs November 11 - 18 in Bydgoszcz, Poland. This year, Panavision hosts a masterclass with Oscar®-winner John Toll, ASC, and a workshop on large-format filmmaking. http://www.panavision.com/panavision-brings-millennium-dxl-camera-and-large-format-lenses-camerimage-2017 On Nov. 14 in the MCK, Panavision Day begins with the workshop, "The Beauty of 8K Large-Format" from 11:00 – 13:00. Peter Deming, ASC recently wrapped production on The New Mutants, utilizing the Panavision Millennium DXL 8K camera and lenses to create stunning visuals for the next X-Men installment. A screening of The New Mutants trailer be will explored by Panavision’s VP of Optical Engineering Dan Sasaki, Senior VP of Innovation Michael Cioni, and Light Iron supervising colorist Ian Vertovec. They will discuss the unique advantages of 8K capture, high-resolution creative control, and how ultra-high resolution is one of the best-kept secrets for producing even better imagery. Toll, who is this year’s Camerimage Lifetime Achievement Award recipient, will participate in a moderated conversation from 14:00 – 16:30. The two-time Oscar®-winner (Legends of the Fall, Braveheart) will discuss excerpts from his films, share anecdotes from the set, and answer questions from the audience. At the Camerimage exhibition area in the Opera Nova, Panavision will have Millennium DXLs on display for festival attendees to get hands-on with the camera. The new HDR OLED Primo Viewfinder, the advanced PX-Pro color spectrum filter, and a selection of innovative large-format and anamorphic Panavision lenses also will be showcased alongside the Panavision System 65mm film camera used to shoot Murder on the Orient Express. The iconic tale of mystery aboard the legendary train, directed by Kenneth Branagh and shot by Haris Zambarloukos, ASC, GSC, will screen on the opening night of Camerimage. Adjacent to the Panavision exhibit, the Light Iron Theater will screen DXL footage in HDR format; Panalux will demonstrate their new underwater light, the AmphiTube product range, which features a bi-color LED solution designed for both wet and dry environments; and LEE Filters, celebrating 50 years in business, will showcase their next-generation neutral density PanaND filters.