SigurdW

Finally managed to get my head around processing crop_rec material, so did a small test at around 2.7K mastered in 3.4K Anamorphic

Setup:

5D3
Helios 44M
Bolex-Anamorphot 32/16/1.5x

Graded using @hyalinejim Kodak Ektar 100D TWISTED lut (Thanks!!).
 
 

A portrait of a dreamer, who moved to the arctic archipelago, Lofoten, to unite his love for nature with his love for forklifting. In this heartwarming documentary he also tries to tear down the stigma he feels is attached to his craft. A story about life and its ups and downs. And forklifting.

A portrait of a dreamer, who moved to the arctic archipelago, Lofoten, to unite his love for nature with his love for forklifting. In this heartwarming documentary he also tries to tear down the stigma he feels is attached to his craft. A story about life and its ups and downs. And forklifting.

This was yesterday evening in our recreational area 'Het Twiske'. Colour of the sun was extremely due to sand out of the sahara. My favourite setup Fuji X-T3 + Voigtlander Ultron 40/2 + Bolex Moller 16/32/1.5x + Rectilux HCDNA. Variable ND filter Mentter HD. F-Log, Eterna in post. 
 

TVC for Mc Donalds with the Bolex on the Terra 4K.
 

TVC for Mc Donalds with the Bolex on the Terra 4K.
 

TVC for Mc Donalds with the Bolex on the Terra 4K.
 

FOV test on Terra 4K Open Gate to 16:9 master. Paired with the usual suspects:
 

Summicron 50mm

FOV test on Terra 4K Open Gate to 16:9 master. Paired with the usual suspects:
 

Did a quick and dirty lens test for illustrational purposes. 
An interesting thing a fellow Bolex-Ana owner discovered is the slight green-cast. Something that is also visible in this test.
 

Whoops! Didn't see yours already shared in this sub forum, I'd posted it already in this other thread:
 
 

Shot this spot using the two cameras and an odd collection of lenses. Leica, Xeens, Tamron zoom...
 
 

Shot this spot using the two cameras and an odd collection of lenses. Leica, Xeens, Tamron zoom...
 
 

This looks great! Thanks for sharing!

I don't appreciate this comment.
And I agree with @Cinegain
Less one-line URL posts to shitty clickbait news articles.... and more camera tests from YOU guys. Make your own content.
If you do take time over it, you'll post less... but better quality. Just a thought.

Thought I'd post this here for the curious who are not part of the Kine FB group.
The only adjustment made to the footage is applying an Arri rec.709 LUT.
Shot with Tamron 24-70 f/2.8.
f/2.8 - 4.0
ISO: 800
25 and 75 fps
4300K
Downscaled to 2K and exported in 422.
 
 

Thought I'd post this here for the curious who are not part of the Kine FB group.
The only adjustment made to the footage is applying an Arri rec.709 LUT.
Shot with Tamron 24-70 f/2.8.
f/2.8 - 4.0
ISO: 800
25 and 75 fps
4300K
Downscaled to 2K and exported in 422.
 
 

Thought I'd post this here for the curious who are not part of the Kine FB group.
The only adjustment made to the footage is applying an Arri rec.709 LUT.
Shot with Tamron 24-70 f/2.8.
f/2.8 - 4.0
ISO: 800
25 and 75 fps
4300K
Downscaled to 2K and exported in 422.
 
 

Thought I'd post this here for the curious who are not part of the Kine FB group.
The only adjustment made to the footage is applying an Arri rec.709 LUT.
Shot with Tamron 24-70 f/2.8.
f/2.8 - 4.0
ISO: 800
25 and 75 fps
4300K
Downscaled to 2K and exported in 422.
 
 

Thought I'd post this here for the curious who are not part of the Kine FB group.
The only adjustment made to the footage is applying an Arri rec.709 LUT.
Shot with Tamron 24-70 f/2.8.
f/2.8 - 4.0
ISO: 800
25 and 75 fps
4300K
Downscaled to 2K and exported in 422.
 
 

A year ago, I was contemplating picking one up when it hit the 12.5k mark. I priced it out at time, and looked at what I would need to get it in motion (all that I shoot), and decided to hold off. That decision ended up setting in motion the conversion idea for a somewhat smaller camera ;). I will still likely get one eventually, as I am a nutty fan, but it won't really be practical for personal shooting for me, because of the weight (the motion tools and crew needed for them etc.). It would still be nice to have one however, and I spoke to Roman Alaivi a while back about it (someone who ended up getting one when it hit 12k). Here are his thoughts:
Hey man, yeah I did get a classic Alexa last December. I've loved it so far. Basically, in terms of functionality it is a beast and not quite as simple as the URSA logistically. It's big, uses lots of power and can be a bit of a pain in terms of getting up and running smoothly once you buy the camera.
Here's what I had to get off the bat to make it just as useful / practical as the URSA. 
- 6 * 155WH Anton Bauer batteries. Each battery giving me approximately 1hr 15m. 6 batteries was the minimum to run a normal shoot for me. $1600
-O'Connor 2060HD head used $6k. O'Connor sticks, $1500. I suppose you could skimp out here and get another head... but man... this thing is no joke lol. You need a serious head. There's older versions of the O'Connor you could probably use though
-4 * 64GB SxS media: $1k. This was the dumbest purchase, because I could have literally gotten a Gemini with an ARRI Raw licence for about that much, and multiple 512GB cards... so silly. Either way, look to spend about that much to make it useful media-wise
-Hot swap battery plate, to run 2 batteries $300
-Good telescoping rosette arms. With other cameras, I could care less, but with how big the Alexa is, I pretty much needed exactly the right length of arm to make handheld feel as natural as URSA or other cameras. I got the shape handles for $1k. Might sound like overkill, but other rosette handles just don't hold up with how much weight you're bouncing around. The solid Tilta handles I had eventually wore-down and the rosettes didn't even lock into place properly because of the bumps and jolts they'd get tossing the camera around sometimes.
There's a few more things for sure, but those were the main purchases.
In the end, once I had everything I needed, it wasn't bad at all. Takes more time to setup for shoots, but less time in post. Footage looks so good, and just the ARRI REC709 LUT looks like a movie every time lol. I'd be lying if I said it wasn't worth it just for the look and how consistent it is no matter what I shoot. I've been loving it so far.

@raf702 I also made the switch from an a7s (which I shot with in both HD and 4K) to the 5D3, and have to say I have never looked back. To me, the DR in the 5D3 is so much more "true", in terms that you actually have control over it in post. Unlike the thin 8-bit "14 stops", that has to be at 3200 ASA, perfectly exposed and with heavy amount of filtration in order to be worked with properly in post. By the time I had got a reasonably life-like image in the grade, was also the point when I had to deal with the aftermath (color casts, skin tones, noise, etc) and the limitations of the Sony. I get ten times more excited looking back at what I shot with the 5D3, than any other prosumer Sony cam I have used 

Shot this promo back in August on a 5D3.

Using a Tamron 24-70 f/2.8 and a Canon 70-200 f/2.8

It was professionally graded in Baselight Studio, the colorist was very surprised when he found out what it was shot on.

Let me know what you think or shoot a question!