Jump to content

Search the Community

Showing results for tags 'speed panchro'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • News & Press Releases
    • Lighting
    • Camera Operating
    • AC's & DIT's
    • Grip & Rigging
    • Visual Effects Cinematography
    • Grading, DI and Telecine
    • Students and New Filmmakers
    • Cameras Systems and Formats
    • Lenses & Lens Accessories
    • Camera Accessories & Tools
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • In Production
    • On Screen
    • Cine Marketplace
    • Business Practices
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Regional Cinematography Groups
  • Not Cinematography
    • Producing
    • Directing
    • Sound
    • Editing
    • Off-Topic
    • Forum Support

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Website URL


Skype


Location


My Gear


Specialties

Found 5 results

  1. I'm sure most of you have seen this beauty by now. Dropped out of nowhere yesterday and set the entire Internet ablaze. First of all, do yourselves a favor and avoid watching the trailer on YouTube or any other source than Netflix itself obviously. The trailer is apparently in 4K on the platform, I watched it on a big screen and it's obviously much less compressed and much more representative. The deaging can be seen from the opening of the trailer with Pesci and De Niro and at the end of it. Looks pretty darn impressive when viewed properly on Netflix. De Niro's skin looks a bit smooth on more compressed versions, it does not on Netflix itself. Otherwise, I've been checking out a bunch of set photos to determine how much was film and digital. The producer Emma Tillinger Koskoff pulled some numbers a while ago which were incorrect for some reason, ie 30% of the film being shot on 35mm, and that everything involving the deaging required shooting digitally. However, Thelma Schoonmaker said half of the film has them deaged. So that means half Alexa (as listed on IMDB) and half 35mm film. IMDB lists the following info: Arri Alexa Mini, Zeiss Master Prime and Cooke Panchro/i Classics Lenses Arricam LT, Zeiss Master Prime and Cooke Panchro/i Classics Lenses I don't know if anyone here knows Prieto or someone else involved with the film and can provide maybe more technical info? I also saw that Prieto tested some special rigs consisting of multiple cameras at a rental house. And you can see one of the rigs on the set photos, seemed like several Red cameras which are presumably there to capture facial data for the deaging. And the Alexa which is now being regularly used by Prieto and Scorsese for low light work (Wolf, Silence). Gorgeous work as expected and a film that's been in the works for a decade, Schoonmaker and others close to the project have said it's a different animal than Goodfellas and Casino despite the obvious initial similarities. The film is opening at NYFF late September too, presumably released in November on Netflix, Scorsese has been said to make a push for a wide release of sorts with possibly an exclusive theatrical window of a few weeks.
  2. Please email sales@broadcastsolutions.com for pricing and details. Cooke Speed Panchro Set Includes: 18/25/32/40/50/75mm Van Diemen Cooke Speed Panchro Set Includes: 18/25/32/40/50/75/100mm TLS Cooke Speed Panchro Set Includes: 18/25/32/40/50/75/100mm P&S Cooke Speed Panchro Set Includes: 18/25/32/40/50mm (Rehoused Eastern Enterprises)
  3. Researching my set which are marked 'War Finish', I can't find any reference to this elsewhere, so, I'd appreciate some help with a few questions: I assume they are Series 1, uncoated, as one is 35mm. Obviously 1939-45 approx., but would there be any more accurate dating for that labelling? What does WF imply? They're normal black gloss but would they be any lesser quality because of the war need? Are there any published serial number ranges for the various types? They have just a basic 1mm-pitch thread. What is the designation of this and was it standard for these early types before adapting to other mounts? Any help will be much appreciated. Brian
  4. I've done a quick comparison of how various 35mm cine lenses render out-of-focus blur, quite fascinating if you're a lens geek like me. :) http://cinetinker.blogspot.com.au/2013/10/comparing-lenses-blur-characteristics.html I tried to include lenses from roughly each decade since the 1930s, by Ross of London, Meyer Gorlitz, Schneider Kreuznach, Bausch & Lomb (Super Baltars), Taylor Hobson (Cooke Speed Panchros), Cooke (S4s) and Zeiss (Super Speeds and Ultra Primes), with focal lengths as close to 32 or 35 as possible. I'd like to add some more frame grabs when I get time, and at least attempt to explain some of the variations. So it's a work in progress. Any suggestions or feedback welcome!
  5. Looking to buy a Cooke Speed Panchro Series II 50mm or 75mm lens to shoot my next student short. Need one with the Arri standard mount. Please contact me with details! Thanks, Ryan Huang
×
×
  • Create New...