silvertonesx24

The other day I had my first larger shoot without a camera op in a long time. It was a mess- lens caps, batteries, memory cards, white balance cards- everywhere.

Does anyone have any belt accessories they'd recommend to keep these things attached and organized?

i think you'll not seem much (if any) anamorphic character when the taking lens is that wide.  you'd be better off just shooting with the 10-22 on its own.

 

fast primes are where it's at with anamorphic.  anything wider than a 35mm at f2.8 and the dof is so deep the bokeh deformation isnt visible enough to warrant the loss of resolution and hassle the anamorphic adds to the process.

Agreed. I've mixed spherical 35mm with anamorphic 50mm in shoots without issue. You really can't tell the difference. Anamorphic shines at 100mm.

no - there are some very very good projection lenses by Schneider and Isco - optically they are $5000 lenses new

so check them out they are cheap on ebay in your budget

Schneider integrated cinelux and isco integrated ultra star - goth great small lenses

+1 They have some drawbacks but the Isco optics are unmatched. Just make sure they're the smaller kind- ask for size and weight if not listed on eBay.

Count me in for one of these.

Apparently you have no idea as to why one would buy even a Rolex, much less a Patek.

Use one of these

http://www.ebay.com/itm/Lens-Support-Bracket-Rod-Clamp-for-Rod-Support-Rail-System-Rig-Follow-Focus-New-/170708003724

The small Iscos are probably the best IMO. Small and very sharp. Kowa Bell & Howell is way overpriced. Check out videos of the Sankor 16-C as well.

chris i dont want to freak you out completely but the komputerbays are a bit of a russian roulette! check them because they fail,

and when i mean fail they dont reach the required speeds or fail alltogether, check the 1 star reviews in amazon

hence the cheap price...if you have money to spare try to get at least one propper 1000x true lexar, since this is a professional gig

 

best of luck

I have had no problems with the several 64gb cards I have purchased. I believe the 128gb ones do have problems though

You will need at least 3 64GB cards. One in the camera, one transferring on set, and one for backup/emergency.

Make sure you're running USB 3.0 as well.

If full frame or larger frame isn't going to be a problem (depending on your current lens set), I'd strongly consider a Magic Lantern running Canon camera, probably 5DIII or II. The ability to set custom aspect ratios like 4:3, is a great tool to use when shooting with anamorphic, especially 2X lenses.

And considering that matte 2.35:1 is almost becoming standard at this point, filming 1600x1200 means my 2X lenses come out at a nice 2.66:1.

Great job and congratulations; it's always a challenge using anamorphics for real work.

As a former (professional) composer, if the quality of work is up to the standard you say it is, these prices are more than reasonable.

Never understood why us composers are so willing to sell ourselves out like this...but hey I'm on the other side now.

Separating "small client" and "large client" seems like a challenge. I would recommend just splitting it into for profit and non-for profit

I was curious if anyone has tried this. I've got an Isco projection lens, and while I love the sharpness, it doesn't really flare. Would removing the coating reduce the flare suppression?

So far I've searched other forums and found people saying toothpaste or Brasso works as a mild abrasive, and after hours of polishing you can strip off the protective coating.

Anyone try something similar?

Try checking in with a watch guy at a jewelry place. They usually deal with coatings on crystals, removing and re-applying them, etc.

^

Agreed. If you're serious about shooting more than cat and tree videos, make sure the rest of your kit is in order before even attempting to take on anamorphic. I finally shot my first paid anamorphic project ever (a commercial), after messing around with anamorphic glass for 3 years and never having the guts to actually use it under pressures of paid work.

So there really isn't an anamorphic "entry level"- it's all advanced and takes time and experiments to find the lenses that'll work best for you.

Finally saw this at the cinema last night, did anyone else notice how soft (and soft edges) and at times almost out of focus the anamorphic sections of the film were? 

 

It looked excellent, it was just interesting to see these traits are not specific to the enthusiast/pro-sumer end of the anamorphic spectrum.

 

Some of the 4:3 stuff looked almost like video at times. Very strange, but totally worked.

I noticed this as well- and not just on this film. Specifically, the wide shots of the ball room/restaurant had some really soft edges. But really, I think most people picking apart an image will go for shot composition first rather than technical details.

Incidentally, I enjoyed the film. It felt like the inverse of The Shining, if that makes sense, and I really liked the changing of aspect ratios that actually seemed to be for a coherent, creative reason.

Interesting, thanks for posting!

From my experience, 2x requires about 85mm FF. And being that you're getting 2x "back" into the image, you're really getting about a 43mm field of view equivalent. So I like to shoot anamorphic at 100-135mm full frame, as I then get nice bokeh due to the longer shot scale.

I don't really see too much value in shooting really wide field of view anamorphic.

It's got USB 3.0., so it should be able to handle a lot of inbound data.  I wonder if it's possible.

There's ethernet on the docking station as well (which is very useful for card dumps on set)

The day i can monitor on an IPad/Surface is the day i will buy an iPad/Surface.

As a director/AD, the Surface is great tool while shooting for shot list/script in split screen side by side, real, full version Excel, and real filesystems and Skydrive.

If it had monitoring abilities, and were just a bit smaller, it'd be the perfect filming companion.

Since the question is about mainstream films, and the emphasis in most people's replies on (fairly) contemporary films, I'd throw in just two:

 

Irreversible (2002)

Eternal Sunshine on the Spotless Mind (2004)

Irreversible is one crazy film.

Also in no particular order:

 

01) Blade Runner

02) 2001

03) Christine

04) The Underneath

05) Matchstick Men

06) Manhunter

07) The Fog

08) Magnolia

09) Drive

10) Elephant

Good to see some more Michael Mann representation along with Heat :)

I'll do 10 relatively recent ones

Heat (will always be on this list)

The Place Beyond the Pines

Prisoners

The Prestige

The Iceman

Spring Breakers

The Debt

Never Let Me Go

Disconnect

Cloud Atlas

Personally, Im more than happy with what the 5d3 ML RAW is doing for me. Not one bit tempted to sell it for a gh4

Same here. The color latitude of working with raw is a luxury that I can't give up.

240 isn't good enough for you?

I would FAR appreciate the ability to shoot in 240, 480 fps over resolution gains.

They're already over 2/3rds there- in two days

Bought the schneider ES Cinelux Anamorphic 2x MC. But today I got over a schneider ISCO Ultra Star Cinemascope Integrated 70mm Anamorphic 35mm for 50€. So my question is, which one to go with and which one to sell?

Sell the schneider, keep the ISCO. As stated, much easier to focus.