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BrooklynDan

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  1. I wonder if you can actually bring a set of Gs to TLS to get rehoused?
  2. A line of Nikon cine primes would be an instant hit. Nikon manual focus glass has always been popular for filmmaking going back to the days of Vistavision, but their latest generation of still glass just has hopelessly crunchy and awkward mechanics that make smooth focusing impossible. Which is a shame since the glass is magnificent, with warm, beautiful skintones, smooth fall-off, subtle vignetting, and some of the best bokeh around. It looks like a mix of Cooke and Leica, but with a little Panavision character tossed in. If they rehoused their existing high speed G-series lenses into a sturd
  3. Other cameras have rivaled the Alexa for dynamic range. Even though Red loves to exaggerate its DR figures (18 stops my ass!), the Monstro has a comfortable 13.5 stops in the right hands. The Venice also rocks at least 14 stops in X-OCN Raw. What the Alexa has that no other manufacturer seems to get right is the highlight roll-off. Every camera, no matter how many stops of dynamic range it has, will eventually have to photograph pure white. Whether it's the harsh glare of a set of headlights or the shimmering heat of a desert at noon, at some point, the image will burn out. The Alexa doe
  4. Different cameras work differently in different markets. Nobody rents an Alexa 65 to shoot Super 35 on it. It has the same exact pixel pitch and density as the other Alexa cameras. The standard Alexa sensor is 3.4K wide at 28mm open gate. You can upscale to UHD in camera and this is enough for most. It fudges the numbers a bit compared to true DCI 4K, but Arri gets a pass because they're Arri and they still make the best performing digital cinema cameras on the market. But we still live in a 4K world, and more importantly, a multi-format world. And that special pass that is granted to Arr
  5. Really, really hope that they skip that C700 sequel. The original was one of the biggest flops in camera history. Almost no one bought it and everyone who did lost money on it. Regardless of the sensor in it, that form factor is severely antiquated. That dull gray bread loaf shape is from the last decade. The C500 MK II and C300 MK III with the modular extensions are actually some of the most nicely designed cameras on the market right now. Also, I don't know who needs a 4K full frame sensor at this point. A $30K+ camera cannot have a 4K full frame sensor when many people are gonna put Su
  6. Medium format video will arrive in the mainstream soon. Arri got there first with the Alexa 65, which is of course a pricey and exclusive camera, but it amassed a huge and devoted following among cinematographers. I think that Red will get there next. They've been teasing a 645-sized sensor since day one. The existing Vistavision Monstro sensor is already pushing the FF boundary at 40.96mm horizontal. I think that there needs to be a distinction drawn between the incorporation of medium format still sensor sizes and 65mm sensor sizes in video, because they represent two entirely different
  7. Yes! This is exactly what I want. Handicam form factor with large sensor and interchangeable lenses. EVF on the back, flippy screen on the side, handstrap for comfort. Winning combo.
  8. My biggest problem with modern cameras is the form factor. Besides the profusion of buttons all over the damn thing, there isn't really any way to comfortably handhold the camera for smooth shots without having to put it on a gimbal or a Frankenstein shoulder rig The FX6 actually makes sense for me since the LCD is upfront on an arm. You press the camera to your chest and keep a hand on the lens. I hate shooting with cameras that have the LCD on the back (i.e. all mirrorless cameras). You wind up hovering the camera in front of your face which makes it difficult to maintain a steady fram
  9. IBIS is not a substitute for a properly shoulder-mounted camera. It tunes out micro-jitters, but it doesn't help you when you're trying to shoot handheld with longer lenses because the lack of inertia causes the frame to swing around when you're trying to move. Also, digital stabilization is a machine interpreting human input. It always looks artificial to me somehow, ever on high-end gimbals and stabilizers. When you have a properly shoulder-mounted camera, you can press it into your shoulder and into the side of your head, which creates far more stability. I've been shooting with a Cano
  10. I shot documentaries on one in film school. It was a heavy, unwieldy beast. I preferred the Arri SR and especially the Aaton. Aaton was actually formed by ex-Eclair engineers, and you can see a rational progression from the NPR to the ACL and finally to the XTR. As far as a modern equivalent, it's obviously 2/3" shoulder-mounted broadcast ENG cameras, both in terms of sensor size, form factor, lens range, and intended purpose. There's really nothing in the modern landscape of Super 35 and full frame cameras that comes close in terms of shoulder-mounted operability. The Amira and original
  11. The Nipponscope was a different system. Nipponscope was the other widely used anamorphic system in Japan. Early versions utilized a front anamorphic group that could be attached to a number of different prime lenses (mainly Canon rangefinder glass). The focus ring was on the taking lens and the focus on the anamorphic was effected by lining up the slot and the pin in the mount. Later versions incorporated a variable diopter system so the focus ring was on the anamorphic group. This system was later exported to Europe and became the basis of the Technovision system, as well as (in more refined
  12. This was obviously focused separately from the prime lens. There doesn't seem to be any mechanism for synchronizing focus with a prime lens. Dual focus didn't die out until the late 60s, especially in Japan. I remember seeing an interview with Kurosawa's DP talking about how they had to have two ACs pulling focus on Yojimbo because of the double focus set-up. This lens was probably used with 50mm lenses and up. Probably 75mm and 100mm too, but not too far beyond that. European attachments like Franscope and Totalscope functioned the same way.
  13. I know that there were different series of the Kowa anamorphics with the designation 35-X. The most common series is the 35BS, but there was also 35B, 35BR, and 35BE. The housing on this lens resembles the early 35B series, so this was probably an additional adapter that was used for B-camera and second unit photography on Japanese films. It's double focus obviously, and at the time (circa 1964), combined block lenses were almost universal, so this probably wasn't used much.
  14. Analogy time: If you paid half a million for a Lamborghini that was advertised as having a 200+ top speed, but could not actually maintain that speed for more than a few minutes and in fact couldn't go more than 100 MPH most of the time and would overheat constantly and leave you stranded on the side of the road, would you be satisfied with your purchase? Your expensive italian supercar just fried its own V12! That's basically what's happening here. There's a considerable gap between what's advertised and what was actually delivered. This didn't happen overnight. The fact that people kep
  15. This camera is such a colossal failure, even if the issues get miraculously fixed somehow, I would not touch it with a ten foot pole. Not even for personal projects. There are way too many good options out there to justify spending $4K on a glorified hand warmer. I honestly think that one of the reasons for this debacle is the entire marketing culture than has sprung up that demands flashy specs over rock-solid reliability. I also think that the race to miniaturize cameras has created new challenges for engineers, and this in turn creates conflicts. One of the reason why the Panasonic S1H
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