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About CineAlta

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  1. It is fighting physics. There are manufacturing limitations when grinding and polishing glass as well as manufacturing limitations as to how perfectly you can align and space each of the elements correctly. Optical designers only have a limited range of glass types to use. Eventually tolerances, manufacturing limitations and material availability/costs mean it's a technical and/or economic impossibility to match the performance you get from a simple longer/slower lens on a bigger sensor. If sensor size didn't make a difference to the image we wouldn't see Arri, Sony, and RED all moving to FF / VV and bigger as their flagship camera systems.
  2. If binge Netflix viewings are your profession then an iMac is the perfect tool. It's a throw away item marketed at consumers. The absurd gloss screen should have been the giveaway there!
  3. You've totally missed the point I was making. A truck cannot move around in the same way as a motorcycle. And you cannot make a motorcycle behave like a truck.
  4. The weight translates into the way motion is rendered in Dunkirk. The physical effort of the camera operators when handling the cameras and mechanical requirements put on the rigging of such cameras has more of an aesthetic impact than the format size, lenses and film stock combined. Dunkirk and The Hateful Eight both felt significantly lower resolution than contemporary movies shot on Red and Alexa but had a physical movement quality that made them feel like real movies rather than a string of 0's and 1's. Film schools should be teaching people information like this
  5. Sony NEX5N or NEX5R or NEX5T all make very nice pictures and are priced at around 150eur for a body. Screen flips and can accept a loupe too. Tech heads will moan about the avchd codec but it's the same codec they gave c100 and fs100 users for in body recording. Add a focal reducer adaptor and he will have an extra stop of light and will gain full frame field of view from your lenses meaning a basic 35mm/2.8 russian lens will become a 25mm/2 lens. Focal reducer: https://www.ebay.es/itm/Focal-Reducer-Speed-Booster-Canon-EOS-mount-Lens-to-Sony-E-Adapter-NEX-7-5-A6500/351338788897?hash=item51cd6c7821:g:SFoAAOSwBahU~~~G That's quite a bit under budget and will allow a nice variable nd, some spare ex-pro batteries and will work with even the cheapest sd cards. edit~~ Additionally all of the above cameras shoot up to 50p in full hd. Slow mo is a nice addition
  6. Cinema lenses aren't much different to stills lenses in terms of image quality until you go vintage primes like k35's, old superspeeds and lomo zeiss copies or go for the top end like cooke S4, Zeiss Master Primes or Leica C-Summilux . OTUS lenses are available in nikon mount and at £3000 to buy, it is well worth renting for a few days to get a taste of the sharpest most refined 28mm f/1.4 ever. It's a manual focus lens too, so focusing is really nice for video. Most try before you buy style camera rental companies will have otus lenses in stock and it will probably be similar rental price to a zeiss compact prime. I suggest spending your money renting an OTUS because it will genuinely be an interesting lens to use for someone experimenting. Just be warned you may end up buying one after using it for a few days. Insane lens.
  7. Unless you're renting an entire set there's not much point. Low end modern zeiss glass isn't very exciting (even the cinema variety). Until you go to Ultra Primes or Master primes they're all pretty dull and lifeless. Rent a 28mm Otus instead. Now that's a cool lens on both aps-c and full frame!
  8. It may be worth going to the AbleCine website and going through their blog entries. If I recall they used to have a number of very nice F3 S-Log luts available as well as some good information relating to processing the original S-Log curve. S-Gamut was only when the F65 was released to coincide with S-Log2. There are lots of S-Log2 luts around which will only need very fine adjustment if used on F3 footage. Throw some onto the footage and have a play. I expect they'll get you close.
  9. A pair of good quality 1x1 led panels from Aputure with 95+CRI to bring the inside lighting up by a few stops. Fire one up at the ceiling and use the other to simulate the feeling that there's light coming from a window out of shot. With $900 invested in a pair of LS-1 panels you'll be laughing.
  10. Don't forget that the A7rII has the heavier duty (all metal) E-Mount as found on the FS7(mk1), FS5 and A7S( andA7sII). I'm unsure whether the 6xxx series share this mount.The E Mount used to have plastic parts under the flange face which meant the mount wasn't as strong. Around the time when they released the original A7S they changed the mount to an all metal construction. I know for a fact that the lower end E mount cameras still use the part plastic mount and the A6xxx range might fall into the bracket of lower end mounts since they may not be seen to be used regularly with the heavier full frame lenses. The solidness of the actual lens mount plays a large role in the video usability. If you're planning on using a metabones adaptor and cage with the ability to lock the adaptor to the cage this is less of an issue but with a stripped down rig it's surprising how important a solid all metal mount really is. edit. A6500 has all metal mount for sure. I can't find info about the A6300. See here for info: https://www.ebay.com/itm/Commlite-Metal-Copper-E-Mount-Replacement-for-Sony-A7RII-A7R-A6300-A6000-A7-NEX-/201997401875
  11. cine4 hypergamma should be underexposed to protect highlights and shadows pulled up in post. The lower base iso for cine4 means grain is very fine so you can really pull up those shadows. remember to adjust for the 0-255 range on certain editing suites. fast colour corrector on your clips with outputs set to 16-235 will fix the issue in premiere.
  12. It's my belief that the BMPCC should only be used at 800iso which is the base ISO for the sensor, regardless of whether used in raw or pro res. From my experience footage shot at 800 and pushed +1 stop in post looks better than footage shot and exposed at 1600. I have a feeling 400iso = 1 stop less dr compared to 800 and 200iso = 2 stops less dr compared to 800. Best to leave at 800 and expose with a 'Exposure Index' frame of mind. Changing to 200 or 400 just messes up the Alexa-like highlight rolloff it does so well at base.
  13. The video assist won't accept 4;4;4. It will probably give you a green tinted image if you send 4;4;4. for use with the video assist, set the f3's sdi out S-Log 4;2;2 Use SDI output A, not the 'Video Out' bnc connector. If you're set to 24p you should be sending 24p out of the sdi. the BM video assists seem to sometimes detect the wrong frame rate - on the A7 series they see a 25, 24 and 30p signal as 59.98, but when imported into the timeline you'll see the correct framerate. It's worth setting the camera to Cine EI mode since it locks you at 800iso and you get the most from the sensor. correctly exposed you can pull or push the 4;2;2 footage a lot before it breaks up. Amazing camera. ps. watch out for the 'shutter on/off' switch down near the bottom left in front of the flip out screen. Set to 'off' gives you 360degree and changing shutter angle won't change anything. catches you out sometimes.
  14. I disagree. 4k capability of the fs700 is great and all that. But I'd take the image processing and infrastructure of the f3 over the increased resolution of the fs700. The F3 performs as if Sony looked at everything that made the original Alexa the success it was (and still is) and tried to replicate it. The low light capability and highlight handling of the f3 still stands up today. They created a camera that would seamlessly intercut with their F35, which at the time was in direct competition with the Alexa for upper level production. I think their efforts to match these cameras (matching the f3 to the f35 with its CCD chip was a step in the right direction when getting the image processing so right on the f3) The fs700 was developed by a completely different team (the consumer division) and it is as if after the f3, f35 and f65 the team behind the fs100, 700 and fs7 poisoned the whole outfit and since then Sony have lost their way to the point where you have to shoot raw in order to bypass the work of the engineers responsible for the image processing within Sony cameras. The Venice looks to be a departure from their F series - probably because they know that they need to move away from the image processing stigma they've attracted from their products developed over the last 4-5 years
  15. I think you're vastly over thinking things. the 10bit 4:2:2 into a 300eur video assist is more than adequate and will write to cheap SD cards. By the time you upgrade to another camera and need the convergent 7q will no longer be future proof and the devaluation will have set in.
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