Sony F35 reaches $12,000 on eBay from $250,000 in 2008

Sony F35

View or buy the Sony F35 for $12,000 on eBay US (this version is enhanced by Clairmont camera in Hollywood)

A Hollywood workhorse to this day, the Sony CineAlta F35 (also rebadged as Panavision Genesis) is a Super 35mm PL mount digital cinema camera and also an extraordinarily good deal on the used market in 2013.

It has 14 stops of dynamic range and a global shutter. It has taken CMOS sensor in the F65 a full five years to surpass the CCD sensor in the F35 / Genesis, which was used to shoot Tim Burton’s Alice In Wonderland, Superman Returns and Apocalypto.

Read moreSony F35 reaches $12,000 on eBay from $250,000 in 2008

All aboard the Juice Train, an anamorphic train journey from Florida to New York

Check out more of Andrew Wonder’s work here

Director, cinematographer and DSLR user Andrew Wonder talks to EOSHD about his latest anamorphic spot for G.E…

The technology behind the shoot is rather interesting. Two Sony F3 cameras mounted on the front of the train, remotely controlled and recording to e-sata drives in the control carriage, kitted out with Joe Dunton / Panavision anamorphic lenses from London.

Joe Dunton is a British Bafta winning camera equipment guy who has always held a great fascination with anamorphic lenses, and was one of Stanley Kubrick’s closest collaborators after A Clockwork Orange in the 70’s and provided Kubrick with his lenses on Eyes Wide Shut.

Read moreAll aboard the Juice Train, an anamorphic train journey from Florida to New York

How to avenge the price of the Canon 1D C and make the camera pay for itself

Canon 1D C rig

I heard a great quote today in the world of motor racing. One of the top engineers at Mercedes F1 had shifted into a management roll, but he was really better at the sporting side. He said he was a racer not a businessman. For ‘racer’ replace it with filmmaker and his quote applies equally to artists…

“I’m not an entrepreneur I’m a filmmaker, I want to make films without the incumbent thoughts of trying to make a profit”.

These days artists are expected to also be businessmen, to survive. Thankfully there’s such good stuff at low prices for filmmakers, to spend $12,000 on a camera body has to be somewhat more than just an artistic decision. It has to pay its way…

I’ve thought of five ways to become a Canon 1D C owner without taking a huge gamble on your finances.

Read moreHow to avenge the price of the Canon 1D C and make the camera pay for itself

Sony FS700 slow mo goes low light with Speed Booster and the new SLR Magic T0.95 lenses

Please email SLR Magic here to order their new lenses

I’ve had a FS700 for a few days and tonight myself and Rudi of Slashcam.de got out and gave it a test run in Berlin. We only shot for 2 or 3 hours and after editing the test I had a lot of ideas for slow-mo shots that would have worked with the song – slow-mo is actually a great creative tool, not a gimmick. Had we the FS700 for longer then I think I could run with this theme of rushing commuters set to the David Bowie song Move On, which pokes a little fun at wanderlust.

Alas slow-mo is the FS700’s best feature. I consider the ND as a bit of a clumsy bolt on, the Sony F5 does it much better. I will consider the 4K output when I see it. Until then this is a 1080p camera.

I’ve also been shooting with the new SLR Magic 35mm T0.95 (Leica M / E-mount) and 25mm T0.95 (Micro Four Thirds / Blackmagic Cinema Camera MFT). Shooting slow mo in low light, you need them.

Read moreSony FS700 slow mo goes low light with Speed Booster and the new SLR Magic T0.95 lenses

Metabones Speed Booster adapter – full review

http://vimeo.com/57901943

Buy the E-mount Metabones Speed Booster – $599 for Canon EOS lens adapter, $399 for others

The Metabones Speed Booster adapter brings the full frame look to Sony mirrorless APS-C and Super 35mm E-mount. (Indeed it will bring the Super 35mm look to Micro Four Thirds but not until March).

It also gives you an extra stop of light. F2.8 becomes F2.0 and F2.0 becomes F1.4. F1.2 becomes a lightning fast F0.90.

It would appear the full frame sensor is now rather pointless. Is there a catch, a trade off in image quality?

Read moreMetabones Speed Booster adapter – full review

Shooting a feature with the Panasonic GH2 and LOMO anamorphic lenses

A guest post by director Roberto Miller.

Andrew asked me to write a brief article for EOSHD about the experience of making my feature film, Mandorla, now in post, with a pair of GH2s and LOMO anamorphic lenses. I’m happy to do so because, truth is, it’s Andrew and the EOSHD community that inspired me to go the GH2-anamorphic route, which achieved a cinematic look and vibe that I never thought possible for a low-budget indie feature.

Read moreShooting a feature with the Panasonic GH2 and LOMO anamorphic lenses