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bart van otterdijk
On 10/20/19, 1:31 PM

Well.. Last year I pulled focus on an English show in Morocco. 2x LF, The big ones. 3 and a half moths.. Leica-R primes. The 35, 50 and 80 opening at 1,5 and obviously shooting at that stop most of the time.

That was a 2 cam shoot and of course lots of data. Post/dit just has to gear up for that.

If only we'd be 'sensible' and only shoot when we should it's actually quite ok.. Sure enough the DIT should be equipped with proper RAID systems, preferably with SSDs.

Then again.. What's all that different as to shooting anamorphic wide open? Keep rolling??

That is just as demanding and bad..

And, Vince.. Making our life more difficult? Well. As a focus puller you need a certain degree of masochism, no?

Nobody cares about our 'feelings' really. As long as it's in focus you're best friends. As soon as there's a 'problem' -caused by ignorant dop/operators making impossible shots- it's your fault..

It's really not all that different from shooting anamorphic wide open (what I'm doing now and have beed doing the previous project too)

I think it'll stay around for a while and we'd better gear up for that.

...

b!



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Gunnar Mortensen

--Gunnar Mortensen--
100296
| 3 2 5
Los Angeles, United States
--Gunnar Mortensen--

E Gunnar Mortensen saw 2 Panaflex cameras drive by on a process trailer for the filming of Ladybugs. Even at that young age he was hooked. Came up through the Camera Department in Denver before moving to LA. Considered to be a career Focus Puller he has worked to not only to improve his skills but also has taught workshops to build the camera community around the globe.

Gunnar Mortensen
On 10/30/19, 3:22 PM

A lot of what drives this is the Netflix 4K mandate that pushed a lot of streaming services to follow suit. My last 3 projects were all FF PVDXL2 and about to start a FF Arri LF feature. It doesn’t seem to be going anywhere anytime soon. Too much money has been invested 


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Fabio

--Fabio--
100773
| 4 4 6
Madrid , Spain
--Fabio--

Started out as a focus puller 8 years ago, I shot movies and commercials in Italy, Spain, Turkey, Uk, Bulgaria, Morocco and USA. Love everything camera related, gear porn and sharp lenses. Sharpness is not debatable.

Fabio
On 10/28/19, 10:14 AM

Here in Spain they are using FF cameras quite a lot, both in tv shows and commercials. Commercials usually have the budget, while tv shows (specially Netflix) are kind of forced to use it if they want to shoot Arri. I did a tv show with the Venice and right after it another tv show now in S35 with vintage anamorphic lenses and I have to agree with Bart... there’s no that much of a difference or at least I didn’t notice any. Not sure if it’s a hype or not, surely the arrival of other real 4K options on S35 will change the game. We will see, sure thing we will keep on being the good guy when the shot is sharp and the villain when it’s soft ;-)


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Philipp Uhl
On 10/27/19, 12:33 PM

With the new Arri S35 camera coming next year, there will be a solid up-to-date high-end S35 option (hopefully with dual native ISO?) and with all the S35 vintage lenses I‘m sure this will still be used on a lot of shoots. Also, all those ALEXA Minis that are still out there sure won’t be outdated in the next few years just because there is something new. For all those projects where you don’t want or need LF, why shouldn’t you use the original Alexa Mini.

However, I know a few DPs who would shoot most of their work on LF if they could, but very often the budget for this isn't there.

I shot some commercials on the Alexa LF and a bit on the Venice, and I think they both are great cameras and definitely here to stay. I think these two formats will coexist for quite some time now.






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E. Roni Beraha
On 10/25/19, 10:40 AM

Well the new cameras are all in bigger resolution either full frame or 6k as well as the new lenses coming out are all FF.

Maybe not today but in 2-3 years time, we may be all working with new LF,FF or 6k cameras.

Regards


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Martin Larsen
On 10/21/19, 4:31 PM

I’ve shot LF on commercials. Both Sony, Arri and the new Mini LF. But I’m kinda split on actually how much it’s will be used, as productions want (or maybe don’t understand) the LF for the same price as a “regular” camera package. Shooting on LF is something completely different than shooting on S35, not only from the focus pulling aspect but as a setup in general. It requires more people and a dedicated DIT to wrangle the data. Which drives the cost of the camera package up. I do believe it’s here to stay for those big commercials or feature films where the budget can match the price, but I believe a Arri Mini 4K camera will be the choice for most productions, most times.


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Rasmus
On 10/19/19, 11:19 PM

I think it's a hype. I havent been out with any large format cameras yet but i think what happens is that the DOP on for example a big commercial has the budget for it and wants to try the LF cams for the sake of it. While a 2 month drama shoot thinks more about the costs of paying the DIT the OT haha. For me 90% of the gigs i do still use the regular Alexa Mini.

Rasmus


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Asked: 10/18/19, 1:41 PM
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Last updated: 11/5/19, 4:19 PM