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Found 24 results

  1. I'm really considering making a big upgrade to the URSA, but I've already invested in a fleet of Canon FDs. I've been doing some research on FD to PL mounts without a lot of luck. I know ARRI make an FD adapter to the ARRI mount (PL??) but besides that seems there's zilch out there. Some talk about machining the lenses to fit the new flange but I was hoping someone here knows of something...
  2. C100 Mark II + Extra Battery (Original) + HardCase in perfect condition Price: 2800 + Shipping. I'm based in Spain but I can ship everywhere, shipping costs are around 50-100 and it will travel in the HardCase (included in the price) so it will be just fine :) This is the most reliable camera that I've ever used. ND's included, natural cinematic colors, Dual Pixel, amazingly detailed 1080p from an internal 4K downsampling process (made in camera), dual slot sd card recording, etc etc, just 100 % proffesional. I'm selling it just because I allways work with a cameraman which is fully equiped, so I'm not using mine enought.. ¡sadly!
  3. I’m selling my 1DC on eBay! I can’t believe it...My favorite camera ever. https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.com%2Fulk%2Fitm%2F112902067120
  4. Eagerly awaiting your Pocket Cinema Camera? You already have a micro for thirds camera and some C-mount lenses? Want to know if they will cover the sensor of the Pocket? Lets find out! I hope you will add your results, so we can make this list growing. I will only add lenses to the lists when you have proof, in other words: images. How? Because we know the active sensor area of the BMPCC measures 12,48 x 7,02 mm, it is fairly easy to check if our C-mount lenses will cover the full sensor. Calculate this by taking a picture with a lens on your micro four thirds camera, and crop out the image area of theBMPCC. In Photoshop: Open the image. Go to Edit > Image Size, uncheck resample image. Change Image width to 19 centimeters, press ok Go to Image > Canvas Size, change dimensions to 12,48 x 7,02cm, press OK to crop the image to BMPCC size. Resize to 1920x1080 pixels Post your results! Note: If you shoot on the GH3 or other MFT camera's, the sensor size is 17 x 13mm, so change the width in step 3 to 17 cm! To lazy to do it yourself or you can't work it out? Upload the full resolution files and I'll do it. List terms explained: Yes = covers the full sensor of the Blackmagic Pocket Cinema Camera No = doesn't cover the sensor Needs modification = Doesn't fit on C-mount to M43-adapter without modifications Equivalent = The focal length and depth equivalent on a fullframe camera (5D Mark III for example) Blackmagic Pocket Cinema Camera Compatibility list Primes Apollo 25mm f/0.85 - Yes = 72mm f/2.4 equivalent [link to proof] Angenieux 10mm f/1.8 Retrofocus (Fixed Focus) - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof] [more info] Carl Zeiss Jena Tevidon 10mm f/2 - Yes - Needs modification = 28,8mm f/5.8 equivalent [link to proof] [more info] Carl Zeiss Jena Tevidon 35mm f/1.9 - Yes - Needs modification = 101mm f/5.6 equivalent [link to proof] Century 9mm f/1.8 - YES (poor quality) [link to proof] Computar 8mm f/1.3 - NO [link to proof] Computar 16mm f/1.4 - NO [link to proof] Computar TV Lens 25mm f/1.8 - YES = 72mm f/5,2 equivalent [link to proof] Cosmicar 8,5mm f/1.5 - NO [link to proof] Cosmicar 12.5mm f/1.8 - YES - Needs modification = 36mm f/5.2 equivalent [link to proof] Cosmicar 25mm f/1.8 - YES - 72mm f/5.2 equivalent [link to proof] Ernitec 6.5mm f/1.8 - YES (heavy distortion) [link to proof] Ernitec/Navitar 17mm f/0.95 - YES (v. blurry corners & distortion) [link to proof] Fujinon TV 12.5mm f/1.4 - Yes (blurry corners) - Mod.? (unknown) = 36mm f/4 equivalent [link to proof] Fujinon TV 16mm f/1.4 - NO [link to proof] Fujinon TV 35mm f/1.7 - YES - Needs modification = 101mm f/4.9 equivalent [link to proof] Leitz Macro Cinegon 10mm f/1.8 - Yes (dark corners) = 28,8mm f/5.2 equivalent [link to proof] Kern Switar 10mm f/1.6 - Yes (slight vignette & blurry corners) [link to proof] Nikon Cine Nikkor 13mm f/1.8 - Yes = 37,5mm f/5.2 [link to proof] Nikon Cine Nikkor 25mm f/1.8 - Yes = 72mm f/5.2 equivalent [link to proof] Pentax 25mm f/1.4 - YES - 72mm f/4 equivalent [link to proof] Schneider 10mm f/1.8 (silver version) - No (almost) [link to proof] Schneider-Kreuznach Cinegon 11.5mm f/1.9 - No (almost) = 33mm f/5.6 equivalent [link to proof] Schneider-Kreuznach Cine-Xenon 16mm f/2 - Yes = 46mm f/5.8 equivalent [link to proof] [link to proof (2)] Schneider-Kreuznach Xenon 25mm f/0.95 - Yes = 72mm f/2.7 equivalent [link to proof] Schneider Xenoplan 17mm f/1.7 - Yes (blurry corners) - [link to proof] SLR Magic 11mm F1.4 - Yes - [link to proof] (added by EOSHD) Tokina TV Lens 8mm f/1.3 - NO [link to proof] Tokina TV Lens 16mm f/1.6 - NO [link to proof] Taylor-Hobson Cooke Kinic 25mm f/1.3 - Yes = 72mm f/3.7 equivalent [link to proof] Taylor-Hobson 25mm f/1.9 - Yes - 72mm f/5.6 equivalent [link to proof] Wesley 25mm f/1.4 - YES = 72mm f/4 equivalent [link to proof] Wollensak Cine Raptar 12.5mm f/1.5 - Yes = 36mm f/4.3 equivalent [link to proof] Wollensak Cine Raptar 25mm f/1.9 - Yes = 72mm f/5.6 equivalent [link to proof] $ 25 noname 25mm f/1.2 CCTV - YES = 72mm f/3.5 equivalent [link to proof] Zooms Ernitec 6-12mm f/1.4 - NO [link to proof] Kowa TV Zoom 12.5-75mm f/1.8 - NO [link to proof]
  5. Music video I directed just went live! Shot on Arri Alexa Mini with Cooke S4/i glass and it was a pleasure to use! I'm always taken by the Alexa image every time I work with it. Wish I could afford to use one every time I shoot! directed by Dave Altizer produced by Jarad Clement director of photography Chris Adams edited and color graded by Jarad Clement here are some BTS shots
  6. For sale: in EU, Blackmagic Micro Cinema Camera. Plus, Ikan VL35 (has a mark on the upper left, by removing the adhesive). Plus, a Hoya IR Cut Plus, a Sandisk 128gb/90mb The camera and the monitor, with the original packaging. All used only once. All the package, for 1200 euros *PM me for photos.
  7. Not mine, but great deal! Found it on eBay. 1DC with 4 batteries/ Charger 4x 128GB CF cards $3,999 https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.com%2Fulk%2Fitm%2F272852833707
  8. Dear cinematographers and cineastes, What will film and cinema look like in future when analog film will disappear given the diversity of digital moving picture formats? The documentary CINEMA FUTURES explores this important subject. For the sake of film please watch and share. Thanks! Here's the international trailer: With Martin Scorsese, Christopher Nolan, Tacita Dean, Apichatpong Weerasethakul, David Bordwell, Tom Gunning, Jacques Rancière, Margaret Bodde, Paolo Cherchi Usai, Nicole Brenez, Michael Friend, Greg Lukow, Mike Mashon, and many others. Liebe Cinematographers und Cineasten, Wie sieht die Zukunft des Films aus in einer Zeit des rapiden Verschwindens des analogen Filmstreifens und der Diversität digitaler Laufbild-Formate? CINEMA FUTURES ab 28.4. in österr. Kinos. For the sake of film please watch and share. Danke!
  9. - Red One Mysterium-X body - PL Mount - Nikon Mount - 6x 16GB Red CF cards - Red SDI HD adapter - Red Pro LCD + cable - Magic arm - Red Cradle - AC adapter - Top handle + rails The camera doesn't have any problem. Has low hours (I think around 600h, but I can confirm it). It's located in Lisbon, Portugal. Price: 3500€ + shipping Email: [email protected]
  10. The package includes: - Red One camera (around 300h) - PL Mount - Red Cradle - Red Pro LCD (has a small mark but works fine) + cable - 2x Red Drives (640GB and 120GB) + cable - Top handle and 2 rails The camera works fine but when is powered continuously for 7/8 hours some small red dots start showing in the image. I heard this is normal, it's due to sensor overheating. It was never a problem for me because I use it for 2/3 hours continuously maximum and then I turn it off to change set or batteries and the red dots never show up. The camera is located in Lisbon, Portugal. Price: 2500€ + shipping Email: [email protected]
  11. Latest work shot on the Sony A7SII with Zeiss Loxia prime lenses. Online commercial for a british watch brand. The film will be used for website/blog use and also taking 15 second social media cuts for further advertising. Also used the excellent 3DR Solo drone for the opening wide and SLog3 profile for further flex in the grade. Hope you enjoy! We are inspired by traditional British styling & tailoring and modern ink culture to create a unique blend of convention and edge. This makes our collection truly distinctive. Our products are all beautifully presented and strikingly original.Our obsessive attention to detail and passion for what we do has created…Ma-Ga London. 'It’s a real accomplishment to be yourself in a world that keeps trying to make you something else’ Filmed on the Sony A7SII Rig: Movcam A7SII cage Lenses: Zeiss Loxia 50mm f2 / Loxia 35mm f2 4K / 1920 x 1080 HD / 2.35 / 24fps Music: SLK - Ride (Prod - Embody)
  12. Latest work shot on the Sony A7SII in PP5 due to indoor light restrictions. Time-lapse work via the A7II, all with Zeiss E-Mount lenses. Loxia 50mm and 35mm, final time-lapse with the Zeiss Touit 12mm in aps-c crop. Cut and graded in FCPX. Love to know what people think? THFKDLF headed out to Bright Tradeshow, Berlin to showcase their upcoming collections and produce a capsule over the 3 day show. Here is what happened. Bright is an original platform which conveys a snapshot of modern lifestyle within an atmosphere relevant to its target group. Since culture is in constant motion, and the influences of its trends are always evolving, the element of its perception fluctuates between art, sport and music. Above all, authenticity is the leading component. thfkdlf.com / brighttradeshow.com / ae-sewingmachines.co.uk Filmed on the Sony A7SII Rig: Movcam A7SII cage Timelapse: Sony A7II Lenses: Zeiss Loxia 35mm f2 / 50mm f2 4K / 1920 x 1080 HD / 16:9 / 24fps Music: Ember Island - Can't feel my face Album - 3 Roses x Ember Island Cover Label: Non
  13. My first test of using the GH4 with Cinema 4K setting at 24hz. Also my first test with my "new" Iscorama 36. I had a hard time adapting it to a rails system, but it's OK for now. I finally understand what it's like to rack focus, as well as how sharp it is. I have to do more tests though to see what I really prefer. I like the SLR Magic a LOT for run n gun, and it is just so easy, and I really don't need diopters. However it really isn't as sharp as the Iscorama. The other option is my Sankor 2x but that's way more bulky and heavy although just as sharp wide open as the Iscorama. I used diopters in this video, that's how I got close focus. +0.5, +1 and +2. I'll do a test using the SLR Magic Achromat +0.33 and +1.33 later. The fllter thread is different though, the Iscorama being 72mm and the SLR Magic 77mm.
  14. Hey! Does anyone have a suggestion for a good film-look lens with Nikon mount which doesn't cost a thousand dollars? I'm not quite happy with my lenses so far concerning the sharpness and look, as most of them are photographic lenses. Zoom wouldn't be bad, but doesn't have to be. Also of course it should be somewhat fast. Perhaps anyone has a advice or a secret tip? Shall be used on BMPCC with BMPCC-Nikon Speedbooster.
  15. Good evening guys, I'm searching for a very fast or the fastest lens for the BMPCC. Then fastest I can think of is the Nikon AI 50mm / 55mm f/1.2 in combination with the BMPCC-Speedboster. Do you have another (better) advice? BTW: It's mostly for concert and nighttime shooting and perhaps to get a nice DOP. Thanks a lot! Moe
  16. Hello, everyone. Perhaps this may seem like a silly question, but I could not find the answer anywhere! After we record in RAW on the Blackmagic, can we playback the clips on the camera lcd? It seems like a no brainer, but I have never held one and was a bit preoccupied because of the playback troubles on the 5D3 ML RAW.
  17. This is a little 2 minutes short film we shot with the Blackmagic Cinema Camera. It is our first major field test of the camera and we weren't disapointed at all. We shot with a Canon 50mm 1.8 & SLR Magic 25mm 0.95. Coming from a DSLR background, I was really surprised how well he dynamic range really held up. We shot ProRes for everything except the opening and closing shots which we shot RAW. We used one bounce card but the rest was available light.    It's titled: "Le Rire". As you can probably tell by the heavy-handed french music, we were aiming for the feel of a pixar-esque short. Hope you enjoy!    http://youtu.be/icVmrZWD77A   As far as post production goes I edited in Premiere and mixed audio in Audition. Color correction/grade with Colorista II. A light pass of film grain was added via an "editwithlight" filmscan overlay thingy.     Thoughts? We love feedback!    Thanks, Luke Starring: Madeline Pickens & Jared Locke Written, Directed and Edited: Luke Covert Director of Photography: Myles  Extras: Michael Good Production Assistant: Allie Amstutz Le Rire is french for "Laughter"
  18. Does anyone know if it's possible to create a good "recipe" for converting BMCC raw video to something similar to what the BMCC camera would create when it outputs Film Log ProRes - preferably using Adobe Camera Raw and After Effects? (I'll be using Resolve at some point, but I'm waiting for the new MacPro's to upgrade, and my 2012 Pre-Retina MacBook Pro can't handle Resolve).   To be more clear: I'd like to shoot RAW, but immediately batch convert to something that closely resembles what I would get if I had shot ProRes422 Film Log.     Is there such a recipe?  Or does the BMCC apply something more like a changeable algorithm to create it's ProRes Log?   So... what kind of curve, saturation, highlight control, shadow control, sharpening, noise reduction, etc... would you be best to use if you were willing to do a batch convert and then grade the ProRes afterward?  There may not be a "one-click" solution but my current workflow is brutally slow.   Thanks for any help anyone can be,   -Aaron      
  19. Hey Andrew,     I saw your post about working with premiere/ae with the bmcc and noticed you said you are using a macbook with an SSD as the main drive.     I just got my BMCC and havent been able to really use it at all because my macbook keeps crapping on itself everytime I try to do anything with the dng files or resolve. I have the same exact laptop as you I believe: Apple 2011 Macbook Pro 17' i7 8GB RAM.   I've been trying to do as much research as I can about installing an SSD as the main drive and switching the optical drive out of my computer in order to place my current 750gb HDD where I can save files to and actually have space to put stuff in. (I have plenty of external hard drives too, but it's nice to have space on your computer as well) The SSD I am very close to purchasing is the Samsung 840 Pro Series 256gb, which is supposed to be VERY, VERY fast.     The only thing stoppnig me from going through with it is the "cloning" process. I know I will have to put my OS (lion) on the ssd, but I am very confused about what I should do with all my applications (adobe cs6, divinci resolve, lightroom, film convert, etc, etc), and all the plugins I use like magic bullet, video copilot stuff, twixtor etc, along with everything else that is on my HDD right now. The reason I'm confused is because some people have told me that even though all that stuff will be saved on the HDD, I will have to go back and reinstall all the applications I use, onto the SSD. In short, I am just COMPLETELY lost about what I actually need to put on the SSD and how.     I have asked many different BMD and apple reps and have called nearby computer service stores and have gotten different answers from each of them. So I hope I can finally get an answer I trust from you since you have actually done the upgrade to the same computer I have, and have had great results with it, especially with your BMCC.   Thanks so much,   Omar A.
  20. Some of the cons pointed out for Blackmagic Camera come from the point of view of casual DSLR shooting, not compared to other cinema cameras, which is what it's intended to compete with in a more budget-conscious manner. This was my thinking when pre-ordering the new Quad HD model.   A practical example:   The other day we were shooting an internal film for a client on Alexa Plus 4:3. Hey, if they can afford it...   The camera weighs 7KG (15lbs), that's just the body. Then you hang a Cooke prime on the front, a pair of Anton Bauers on the back and that's up to 10kg (22lbs) or so. Swap that for an Angeniuex or Arri Allura zoom for exmaple and you're up to 13KG (28lbs). That's before rigging, which needs to be heavy duty enough to hold such weight. As does your tripod.   We ate through eight big batteries in one day shoot, and they are bloody big expensive batteries. Also it wasn't really a full day in shoot terms. For day two we went to a an external tethered battery that was like a massive block of lead, so you have a person carrying that behind.   Does it look beautiful? Hell yeah! But it's not very easy...   The 4K (or Quad HD) BMD has an S35 sensor (it's actually smaller than S35 as most would think of it, but not enough to bother with, and not much more than the F55)  and you should be able to power it for a long time off of a chunky V-lok on a rig. You can then downscale the image in post or in camera to HD. You lose a few stops to the Alexa, but you can buy it for the price of a few days Alexa hire and use it every day til you know it like the back of your hand and you fill up your hard drive. And you can actually run and gun relatively stealthily due to global shutter and light weight. Seeing what could be done with the previous model of cinema camera actually made me think it wouldn't cut to bad with the Arri either.   Compared to picking up a 550D and shooting a friend or the trees outside, sure, Blackmagic cameras seem annoying, but compared to setting up a cinema camera? All the evidence so far from their previous camera suggests you'll get a long way to the wonderful look for less money, weight and hassle. Same for the pocket version, even if you have to rig it for batteries for some projects, I mean look at it, it's the size of a f***ing phone!   If you want to make narrative drama or blocked-out promo that is an amazing thought... you don't need to budget in a load of camera hire... just buy one of these, and that's all your films for the next three years sorted.   Now the new Red may have 6K, but I can't remember looking at a film shot on the old Red and thinking "oh that's not very detailed", quite the opposite, so it's quite excessive right now, and the cost is so high.   Let's just hope the new Cinema Cameras turn up in good time with no issues, after last year's debacle, all of those who have pre-ordered are rather nervous. There's quite a bit riding on these two models...   Now I just have to have a good idea... I knew there was a catch... ;)
  21. Hi there,   I am currently working on a research project for my final year in university where I study film production.   The paper is called "The Evolution of the Cinema Camera" and will discuss the technological advancements within the cameras through the decades. In particular though it will focus on the move from 35mm film to digital.   For the project I have been talking to various D.O.P's and also camera companies such a Panavision, Arri and RED, and getting their opinions on the change from 35mm to digital.    However, with digital now the primary choice for shooting a film, companies such as Canon began creating DSLR's with video shooting capability and with that came a new type of film making. It is this type I wish to speak with you all about today.   I want to know your opinions on DSLR film making and how you think it stands up to industry standard digital cameras. Do you think the market is being flooded by films shot on a DSLR that have no real quality to them or do you think DSLR film making has opened the doors to people being able to do what they want and create their film?   Why do you think people went from film to digital? Was it because it is cheaper and faster to work with or something else?   If you had the choice to work with either format which would you pick? Film or digital?   What do you think is next for the film making world? Digital cameras are now shooting extreme resolutions such as the RED Epic being able to shoot in 5K and 3D is beginning to show the world it is not just a fad as more and more films are now being shot in it and not just post-converted. What do you think the next big 'thing' will be?   I also created a poll which you are welcome to do if you wish? It simply asks the question, "Which do you prefer? Film or digital?" and then gives you the option to pick which. The link for this is below:   http://www.easypolls.net/poll.html?p=515b2863e4b0ecbcda3739ce   Feel free to comment and share this post, the more opinions I gather the better. Also if you have experience in working in both film and digital and would like to be part of the project itself then please get in touch and I will arrange an interview with you.   Thanks guys!   Dan.  
  22. Just found this on Vimeo.  Awesome, can't wait to see more footage!!   http://vimeo.com/55887965
  23. https://vimeo.com/55803392     Produced by http://www.Deadcatdigital.com Location: "Szimpla kert" ruin pub Budapest - http://www.szimpla.hu 11.12.2012 ISO: 2000-6000 1080i 4:2:2 MXF No color correction in post Canon EF Cinema lenses we used: 24mm T1.5 50mm T1.3 85mm T1.3 Music: Infected Mushroom-Muse Breaks RMX   [attachment=327:Canon_c500_deadcatdigital_cinema_lenses.png]
  24. Hi guys, writer/director here working on getting my first feature up and running. I entered this comp with only 9 hours before the deadline, primarily, as when I saw the judges, I knew it was real people who make and live cinema and not funding bodies and other lack of film education types, who were going to see them. I shot it on the GH2 to test what I have always believed in, which is, that when it comes to any kind of artistic or creative expression, it is what you have to say and not what you say it on or with that counts, and nothing else, and I knew others had made full blown productions with full crews, budgets, locations and everything, so I was slightly taken aback when the judges: Paul Greengrass (Bourne films) Jeremy Bolt (Producer Event Horizon, Resident Evil films) and editor Eddie Hamilton (X-Men: First Class, Kick Ass) were unanimous as picking it as the winner!!! Here are a couple of their comments: Judges comments included Eddie Hamilton (X-Men editor)… ‘Very cinematic, excellent use of camera, composition, editing and music… a tour de force, and for me the clear winner.’ Producer Jeremy Bolt (Resident Evil Franchise) commented… ‘Subtle and visually bold. Made you think and the boys performance was very believable ­it was understated. I also thought editing, cinematography and music were very strong.’ Would love to know what you all think. Less than 2 mins so nothing heavy. For me the GH2 totally rocks for all the reasons that Andrew has been tirelessly cheerleading it for, I am a guerilla filmmaker and don't like the time and wasted energy associated with waiting around on film sets to do this and setting up that, ok maybe if you are spending someone elses money, however I just like to shoot and get on with it. I am really wanting to shoot my feature in exactly the same way I made this and with this camera. So am always looking for likeminded, cine-literate, passionate about film... filmmakers. Best wishes to all and rememember if you can imagine it, you can do it... the mantra of Stanley Kubrick, who is GOD, that would be Greatest of Directors and my favourite for the integrity to the purpose of what you do and how to accomplish it :-) [media]http://vimeo.com/30941061[/media]
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