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About katlis

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  1. http://ebay.us/DsklmR?cmpnId=5338273189 Starting bid is $2,950 (No Reserve). This is an original F35, not an F23 with circuit board/CCD conversion kit. Feel free to ask any questions in this thread, but if you don't want to click through, here's a paste of what I wrote for the eBay description that should tell ya everything you need to know! ---------------------------- If you’re looking at this F35 you probably already know the gist: Once priced over $200,000 ten years ago — used for films like Tron Legacy (Jeff Bridges, 2010), Real Steel (Hugh Jackman, 2011), etc — it’s STILL the closest thing to getting a film-like image out of a digital cinema camera: 1) A global shutter sensor, unheard of these days 2) A highlight rolloff that emulates celluloid 3) And colors that arguably surpass an Alexa. Although the 5K CCD sensor “only” outputs 1080p, you can easily upscale the footage in post to 4K without anyone knowing the difference. Resolution was no concern for those VFX-heavy theatrical releases I mentioned. But maybe you’ve also seen this upscale magic exemplified in the more recent “Mauritania Railway” documentary shot with the F35? If not, look it up on Vimeo! Since buying this camera earlier this year, I haven’t had much time to shoot with it. But when I did, it was incredible to see what came out of it. Hence, my regret selling it. But I’m just a one-man hobbyist. During my time learning as much as I could about this camera, I’ve made some upgrades that takes it to another level. Upgrades: This F35 can now shoot 12-bit 4:4:4 ProRes in a compact form. No bulky recorder necessary. Aside from the rare Sony interface box included on the back, and the latest F35 firmware, the PIX-E5 monitor/recorder I’ve added (with XLR audio interface) records this ProRes by way of a little AJA LUT-Box solely used for multiplexing the dual SDI output. This 12-bit footage is indistinguishable from the Cinema DNG I once recorded, but at a MUCH smaller file size. Not to mention, the convenience of recording to the E5 “SpeedDrives” is a dream. These are little USB 3.0 thumb drives that use cheap + upgradable mSATA media. After a shoot you just unplug it from the monitor & pop it on your computer’s USB port. There’s a 1TB mSATA card included in this sale too! And to compliment the included Sony -> Arri riser plate ($325 value), I’ve also added a SHAPE ARRI standard bridgeplate (with 12" dovetail & 19mm rods). If you haven’t used a cinema camera like this before, this type of bridgeplate is necessary and not cheap ($382 value). That’s over $700 in adapter plates alone. I’ll also throw in a little 19mm to 15mm rod adapter if you happen to need to connect something like a Tilta focus motor. There’s some other extra goodies too, like the original top handle, a gold mount battery plate, and all the cables you need. Basically, just slap on a battery & lens and start shooting! It will be hard to say goodbye, but when it’s time to send it to the lucky owner I’ll be shipping it safe and secure in its own hard Pelican case within a box with extra padding. If you need recommendations on lenses, tripods, help grading footage, or any questions when you get the camera I’ll always be here to help, just like the previous owner before me who took great care with this camera! With any 10-year-old studio camera, there’s just a bit of cosmetic wear from the past years on set, but nothing more than character for a perfectly working cinematic beast. Check out my seller rating history, I only sell my personal camera gear. Good luck on bidding! Includes: Sony CineAlta F35 Camera Sony CineAlta F35 Interface Box Sony CineAlta F35 Top Handle Sony CineAlta F35 -> Arri Standard Riser Plate SHAPE ARRI Standard Studio Bridgeplate and 12" Dovetail Plate with 19mm Rods Video Devices PIX-E5 12-bit 4:4:4 ProRes recorder/monitor with arm mount Video Devices PIX-LR XLR audio interface Video Devices PIX-E5 SpeedDrive with 1TB mSATA drive AJA LUT-Box (used as an SDI multiplexer, but also has an additional HDMI out for a second monitor) Gold Mount battery plate (battery not included) Extra SDI cables, multi P-Tap adapter & power cord for the monitor Pelican case for F35 US only, no international shipping. Lens and battery not included. http://ebay.us/DsklmR?cmpnId=5338273189
  2. @Sage Just checked the GHa thread and noticed you released this P4k version, awesome! I just grabbed a P6k last month and have been excited about this. I know you're still working on that version, but in the meantime I'll test it out on the 6k for fun. From what you've seen using the P4ka on P6k footage, any tips on how to make the most of it or get it as close as it should be in your eyes?
  3. Here's a fun one. Using GHAlex on Mavic Air D-Cinelike to match GH5S V-Log. ? These clips were actually shot on different days too.
  4. Nice, I recently shot a similar scene with a cheap Neewer LED (blue gelled) bounced off the ceiling and an LED stick inside the window. Face was just lit with the phone! Loving the GH5S, this was shot at 5000 ISO. Grading started with GHAlex and then a bunch of other adjustments as you can see. ?
  5. 90% of the time I'm shooting 2x anamorphic these days, yet I never got around to trying 6K mode... mostly because I record to an Atomos, but I was also concerned 4:2:0 color wouldn't give the best GHa results. Now that I've switched to GH5S that's out of the question anyway!
  6. "6K" mode limits you to 4:2:0 though. Is the little extra resolution worth it?
  7. Speaking of, I just picked up a GH5S and I'm glad to hear it has an OLPF. I took it out over the weekend with my anamorphic setup, here's a couple of stills (Alex I think you've seen these on Facebook with a slightly different grade, but these here are straight GHa).
  8. Thanks! Alex makes it easy! And his latest tip came from the GH5 Facebook group. Tiffen of course makes a bunch of filters, the pro mist filters probably being their most popular. But they also have a “Digital Diffusion” filter that comes in different densities. It softens fine texture without overly blooming light (halation). Alex suggested trying the Digital Diffusion in the 1 density. It’s subtle, but sort of emulates that olpf look. I’m sure he can explain more, but have a look at this video: https://vimeo.com/162597544/description
  9. No olpf blur on these. Just quick color tests to see how much I could save this random GX85 video. On a related note, I've gotten my DD1 filter and will share some GH5 results later, but so far I've noticed a nicer texture, however it adds quite a bit more flaring to the image.
  10. Wanted to share more GX85 Cine-D samples. It's fun to carry around with the 14-42mm pancake for impromptu video when I'm not using it for photos. Additional coloring was done on top of GHa.
  11. I've been carrying around my little GX85 w/ Oly pancake zoom more often for casual photography, and the occasional impromptu video. Who needs a "Pocket 4K" when you can have a Pocket Alexa! ? But really, it fits in my pocket. Bottom screen grab has GHAlex with some additional grading. It works miracles on this "hacked" Cine-D at like f/20.
  12. That looks great @deathly_twig, I had a similar idea recently. It turns out you can "hack" the GX85 to enable Cine-D which was hidden in the firmware. I originally wanted one as a backup camera for photography, but the video on this thing ain't too bad, albeit 8-bit. So I picked up a used one for 300 bucks. The 16mp sensor may give it an edge in low light too? This is at 800 ISO. 8-bit PRE + Cine-D to V-Log PRE + GHa Main + luma adjustments:
  13. I agree, while I've been getting acclimated with grading GH5 footage and following your advice I've always kept it under 75. Loving the results. Now I'm trying to get out of my comfort zone and experiment with new looks, so adding this Linear option to V3 is a nice push. Hoping to shoot my first real dramatic short next month. From the grade I'm imagining in my head, I'll probably stick with <75, but either way I'll be using GHa!
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