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Everything posted by Lucian

  1. Hi, I'm thinking of getting one of these and wanted to hear from any owners. I use my iscorama 36 handheld with small cmount lenses, at times I am concerned that the front thread of the cmount lens could give way and kill my isco. Does having one of these on more robustly connect the the two? any other pros/cons? have one you want to sell? Thank you!
  2. Howdy. i'm looking for a couple of s16 format (or suitable for) lens suggestions. I need super fast primes as I do a lot of low light and available light, pref c-mount or PL. Looking for a good lens in the 10-13mm range and another lens in 17-20mm range. Having trouble finding anything decent and affordable. The computar 12mm is a turd in low light as the flares and internal reflections are like a discoball. S16 options are pretty woeful, almost ready to sell my car and buy a set of superspeeds. Thank you!
  3. Lucian


    Hey folks, I am looking to use some hardware store fluro 24 inch fluro t8 ballasts, with film quality bulbs. Only issue is, all 24 inch lights are hardwire. Does anyone have any experience wiring these to a plug? is it hard? Thanks!
  4. creatively it's a slam dunk! camera wise it doesn't do much for me though, but as mentioned it kind of adds to the charm/fits the concept in this case. Great job by band and all involved.
  5. Ha, funny. When I saw the billboard on the way to work today I thought, "that looks like a cool video game".
  6. Lucian


    Does anyone know of cheap option for single, portable, battery powered tube style lights? Basically a battery powered fluro tube fixture that could be stuck on walls etc.
  7. The results are lovely. A max 50mm on m43 would be pretty limiting if true though . Iscorama already gets tight at times, esp interiors.
  8. Impressed to see you taking matters into you own hands. No requests here, all sounds great! well done.
  9. Whats worse than kids who've grown up with the expectation of free content, is fellow artists not respecting each others work. I want it too, but the record industry and musicians don't owe anyone cheap access to licensing their work. I also want a Porsche, doesn't mean it should be reasonably priced. Music bed and marmoset are getting much better.
  10. Not sure if this was mentioned already, but I've found when using monitors that allow adjusting for anamorphic stretch, that I actually end up going back to squashed in order retain the extra resolution for focusing.
  11. Read my post, I didn't say crap work, music lifts up any type of work, good or bad. It's a huge part of the cinematic experience and of equal value. And checkout the history of David Lynch- whom you mentioned, and his composer Angelo Badalamentii, they started working together on blue velvet when Angelo was essentially an unknown. That collaboration has produced some of the greatest and most original cinematic moments ever. Likewise Clint Mansell had never written a score when he first began working with Arronfkski, they've been together ever since. Maybe I worded it poorly, but working with people who are accessible to you isn't a derogatory suggestion, just because Angelo was fairly unknown, doesn't diminish his amazing talents! Somewhere on soundcloud there is the next Badalamenti looking for his/her lynch to partner up with and make something new, hope I find him/her first :)
  12. I hear what you are saying and I agree all artists build on what came before, and most start by emulating. But Influence and literally using an exact actual copy of someones art to promote your own aren't the same. It is frustrating because filmmaking is so reliant on several art forms to reach its full potential, tough to make a good film without good music. But for me it's not an excuse to take the music just because I want it. It seems silly people shouldn't be able to make little test videos on vimeo and use whatever music they want, but where do you draw the line? It's really only an issue when you are sharing it on a massive public platform. For me sense to avoid the hassle all together and collaborate with folks at my own level. I would probably be more inclined to agree with you, but as I mentioned I have been on the receiving end, it's a horrible feeling to lose control of your art and feel like it's getting sullied. One of my short films has been ripped and re-scored a bunch of times now and posted online, once with death metal!
  13. The music can almost always be licensed, it's not that hard. But for the most part record companies don't really give a shit about the odd few hundred dollars from some student filmmaker who wants a festival licence so there is no point building some huge infrastructure to make it easy for someone who for the most part they cannot afford the music they want to licence. You have to play with toys that are in your league. If you are working on a big budgeted film there are people who handle getting quotes, even if you aren't you can just contact the publisher. I've done it and gotten fair quotes, but mostly they are outrageous. Sites like music bed are there to fill the gap, music that is affordable and easy to licence, the downside is the quality is hit or miss. But I think to say fast, cheap licencing is always win win is missing a crucial point. Successful music artists don't necessarily want you piggy backing off their work and a small licencing fee may not worth having their art and reputation likely devalued. I don't want adverts on my shorts and it bothers me when they pop up with new scores without my permission. It devalues the original The attitude that other peoples art should be yours to mix and mangle lift up your own work with for free or cheap, on a public platform, is outrageous. There are lots of up coming artists who are happy to collaborate with you if you ask though! Like Andrew said, search bandcamp or soundcloud, you might find a future collaborator.
  14. Yeah everything shot inside the hotel was consistent.
  15. I only noticed it in certain shots, but it may have just been that it was more noticeable in closer up shots. The punching shots that you mentioned definitely caught my eye, I thought they had tried to speed it up in post or something. Yes definitely had the feeling of some shutter wierdness, like a subtle version of the horrible "motion interpolation" soap opera effect of some modern tvs. I noticed they struggled with light or something in some shots too, occasionally there would be a shot that inconsistently grainy or soft. It didn't bother me, I loved the artisnal handmade feel of things, in fact it only inspired me to worry smaller problems in my own work so much and just plow ahead with the story. Fail and try again! I am curious what happened though. Maybe they were under odd conditions and trying to shoot all those different aspect ratios caused some slip ups. I watched it at the arclight who are fussy about projection so I think it was definitely the film.
  16. Consider also that each time an artist's music is used on a project that is not in line with their artistic goals, and then shared with the public, it's value is diminished. Radiohead or whoever likley want their music being the theme for every art school video project, or worse a car ad. Of course there is a price for everything. I want to have the worlds best actors and best musician's work in my films but I can't afford either so gotta make do with what I can!
  17. Sean do you know what the deal was with the 4:3, why the motion looked video-ish at times? it had a "downtown abbey" TV look in places and I don't mean the period, i mean the motion and look of the camera image.
  18. Haha yes I love these artifacts in my own shooting but I guess I didn't expect them to be so pronounced in this film. I'm not sure if my eye for it has sharpened or this film was particularly bold. I watch a lot of films shot anamorphic but I was acutely aware during this. Loved the film, although I prefer his- and in general, smaller scale more intimate stories.
  19. What blows is in most cases the rights to music doesn't belong to the artist and if you want to licence it you will pay massive fees and have restricted usage and all the money goes to universal or some other company that had no hand in creating the art. I hope the current trend of self made musician's by meritocracy on the internet continues and the relevance of big music record companies for distribution dies completely. It would be wonderful to negotiate with the artists management directly and know the fees you pay are going directly to person who actually made the art. I feel like the $200 for personal use without strings attached that music bed and such do is very reasonable and I've had no bones about paying it since I know the artist is getting a good portion of the money. Ultimately though, whoever owns the art should be able to say to whom and how it's distributed, I don't understand the entitlement attitude in the digital age. If you don't like it you should try making your own, peoples art in all mediums has value!
  20. Wonderful, can't wait to see some juicy test footage. Well done!
  21. 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.
  22. I see. Supervising the modification of an iscorama in this fashion is over my risk tolerance! plus I want to keep mine light as I like using it handheld without rails. Pulling focus is do-able across %75 or so of the range in the current state, I guess that'll do. Well done again, this is a fantastic discovery. If you ever find the time and inclination to make these up for sale, I'll be first in line.
  23. I am very interested in modding my iscorama in this fashion to reduce radius needed to focus close to infinity. I don't really understand how it was done, a whole new front housing?
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