CineAlta with PRO35 adapter

M

maestro1d

Well-known member
We've used the letus, brevis, redrock etc for shoots.

Getting ready for a feature, and going to use the CineAlta with PRO35 as recommended by our new DP.

Watched a feature he used it on... Image looks great, even uprezzed from 480. Anyone have any experience with the PRO35?

Appreciate it.
 
Its a heavy beast and actually flares highlights more than the Letus. I'm not crazy about it, but it is reliable and the Zeiss lenses are great. Pictures with a cinealta can be great but be prepared to raise the detail from where it would normally be or it can get mushy.
 
Lenilenapi said:
Its a heavy beast and actually flares highlights more than the Letus. I'm not crazy about it, but it is reliable and the Zeiss lenses are great. Pictures with a cinealta can be great but be prepared to raise the detail from where it would normally be or it can get mushy.
Click to expand...

Yeah, DP commented on how heavy it is. We're either going with this setup or the red, but I really like what I've seen with the DP's "Cinealta" without having to go that extra step. Thanks for replies guys...
 
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A high end 2/3" HD camera like an F900R, even with a Pro35, will have a higher ASA than a RED, assuming similar speed lenses. There won't be any CMOS or deBayering artifacts, workflow will be simpler, albeit with less scope for heavy grading or color correcting in post. Even with the adapter on the front, the 2/3" form factor is still easier for hand held than a RED, and the camera is more reliable.

We have Letus Ultimates with B4 Pro 2/3" relay lens, and with Nikon Primes, the setup rents for about half of a Pro35 with Zeiss Super Speed set. With our Panasonic HPX2700 P2 Varicam using AVC-Intra 100 10-bit codec, the results are pretty impressive, allowing for a good amount of color correction and grading in post and off speed shots in-camera.
 
Thanks for the info on the F900 or F750- I will call the guy I am considering for DP tomorrow and find out for sure. If you want to see some samples of what he shot, check out his "The Sacred" trailer at: http://www.sacredmovie.com/

I attended a VIP advance screening for his movie here in an Orlando theater using digital projection- the result was great... looked almost like a 35mm filmmout.

As a director, I found the look of the image on screen from the camera setup he used to be fairly impressive, particularly in night scenes, especially after he confessed that they were limited on available lamps.

I always found the 35mm adapter I used for my own stuff to be about one stop too low for night scenes- looked great in daylight or in studio, but in natural outdoors at night, no matter how much light we let in with the iris and shutter settings it was just dark, dark, dark... And that was using a mole 2K, 4K of tungstens and another 4K of Arris. There was so much light, the set practically looked like daylight and I thought we would be overexposed- but the adapter and Nikons just killed it- could barely see an image. Not without pumping gain off the chart any way, which I absolutely hate unless I am going for that look.

So whatever kit the DP we are talking to is using, I think I am game. I am working on line item budget for the gear for the feature over next couple weeks. Thanks again for the seasoned advice, guys. May give you a shout out as we proceed in crew/gear up phase, depending on locations etc.
 
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