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I'm a student making the transition from digital to film and my next project will be shot entirely on 16mm. I'm interested in purchasing a working ARRI SR I or II. My budget is around $1200. I reside in the U.S. You may email me at firstname.lastname@example.org
Hey all! Shooting a small music video on S16 soon, and wondering what everyone's thoughts are on the Aaton XTR vs. SR3 vs. 416. What are the advantages and disadvantages of each when compared against eachother? I'm seeing XTR packages are almost half the price of the SR3, and our budget is tiny so I'm trying to see what I'm giving up for the cheaper price.
Heading into the field shortly to shoot some sync sound camera tests-- I'm interested in trying to use as much of my "new" camera as possible, including the Pilotone and the start mark system. Has anybody had success recording this Pilotone, especially going to a digital recorder? If it's possible, I'd love to be pointed in the right direction for cables, 5-pin DIN to 3-pin male XLR. Thanks!
Hi there, I believe that this is probably something that has been discussed before. But I hope there are some new things that can be brought up with this question. I have an upcoming project in the fall, and the director and I have decided that we want to have the anamorphic look for a short we will be making. Now the flares are not the most important thing, but rather the vast image that we are going for. The problem is how to achieve it. First idea would be to use my own S16 Eclair ACL, with an PL adapter, and we were considering renting pure 1.33x anamorphics. But as far as I know, the only ones to rent at the Hawk's, and they would cost us pretty much the complete production budget to get a set. Second idea we had is to use a R16 Arriflex SR and put Kowa 2x on it. The real issue here would just be the wider shots, since we basically loose all the width in the image. Third idea is to invest in a Panasonic AG-LA7200 adapter, with a 0.25 diopter, and use B4 lenses on the ACL to get the image we are going for. I also have a person that can make a M4/3 adapter for the ACL, so any M4/3 solution would work as well, but honestly I am open to any ideas you might have. And yes, both me and director are 100% set on shooting on film stock. C