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Everything posted by barefoot_dp

  1. If you can only pick one, why not something a bit less wide? 2x stretch means it'll be as wide as a 20mm, and even on s35 that'll seem pretty wide as an only lens. (pretty sure the Master Anamorphics only do s35 coverage) The 60mm or 75mm might be a better choice. Shooting the Cooke 2x's on Arri Alexa/Mini, I've found the 75mm is my go-to and the one I'd pick if I could only choose one, but that is shooting in open-gate mode. I might lean towards the 60mm if I had a little less sensor area to work with, as with the FX9 in s35 mode.
  2. Just noticed the original Rokinon Xeens are on sale as a set at B & H. 6 lens set for $8550 (that's less than $1500 per lens!) for the 14, 24, 35, 50, 85 & 135. For the cost of 1 or 2 cine prime lenses from another manufacturer, you can have a full set of 6. It is probably cheaper than buying a full set of Canon L-series primes, let alone cine lenses. That is insane! Of course, they are not the world's greatest cine lenses but for people shooting on cameras under ~$10K (FS7, EVA1, UMP, any mirrorless) these will be more than good enough 95% of the time.
  3. For the work I currently do: Ursa Mini Pro G2 w/vf & shoulder kit Sigma 18-35 Cine Sigma 50-100 Cine For primes I guess I'd get a set of the Sigma's so that everything kind of matches. Ziess 70-200 CZ.2 Canon 400 f/2.8 & 600 f/4 Miller Arrow 30 (already have) A couple of Litepanel Gemini 2x1's plus some 1x1's for when I need to run on battery. Inovativ Voyager EVO 30 Cart (because of it's light weight) I shoot an outdoor adventure TV show, some commercial work, some local brands/fashion and a bit of surfing. A big variety and generally fast-paced micro-crew stuff. Prores is more important to me that raw because I do most of the post work myself too. Raw isn't very appealing when you have to edit & store everything yourself, as opposed to just handing the cards over at the end of the day. The UMP appeals to me because it's one of the few cameras that allows you to shoulder rig it well without becoming insanely heavy or complex. If most of my work was on fully crewed productions, I'd say Alexa LF no doubt. Why go for anything less that the best, if you've got all the support around you?
  4. I don't see what's interesting about it? I mean, good on him for chasing his dreams but It's just the same as any of the countless independent studios in every city. From an indie film-making perspective, I think what Jakob Owens is doing with his Film Ranch looks much more interesting - a couple of pre-designed thematic sets housed on single a large property.
  5. I'm sure I'll cop flak for this, but pretty much every Leica camera would win this in their respective price categories.
  6. (focus puller here) I originally only saw a snippet of this video and it was the part with the dancing girl. Can't remember where it was posted but I didn't realize it was AF and my first thought was "they missed critical focus most of the time, and that's terrible PR for a full frame camera because plenty of people will say it's just too hard to focus". Knowing it was actually AF is pretty cool and definitely shows the tech is capable in some scenarios. However - they need lenses that can perform in pro scenarios too. The focus breathing on a lot of those samples was horrendous, it's like watching a music video where they're doing punch-ins in post. A manual focus puller would've been more selective in their movements and avoided a lot of that background wiggling due to constantly hunting AF. Part of good focus pulling is understanding when it is acceptable to let focus slip a little for the greater benefit (eg on subjects in motion you can let them go out of focus a bit because motion blur is making them soft anyway, as long as you hit focus on the next mark when they stop). So yes, the tech is pretty awesome and will come in handy, but no, focus pullers are not crapping their pants.
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