Just got a new camera - Sony F35

There was a film shot a few years back called "Legacy", starred Idris Elba in one of his first post-Wire roles. The DoP on that I was working with shortly after and he said they got a quote for shooting on 1.3x Hawks but the cost of the lenses alone came in at some frightening figure - it was well into five figures.
 
There was a film shot a few years back called "Legacy", starred Idris Elba in one of his first post-Wire roles. The DoP on that I was working with shortly after and he said they got a quote for shooting on 1.3x Hawks but the cost of the lenses alone came in at some frightening figure - it was well into five figures.

Anas are pricey, I priced up a set of the new Cooke Anamorphics for a four week feature next year. And the rental just for the lenses came to just shy of $20,000... for four weeks.
 
I haven't compared them side-by-side, so all I know is that the Alexa can hold burning hot details out a window that no other camera (or film stock) I've ever used can match. It's certainly more than half a stop over the Sonys.

The F35 makes a lovely image, it really does, but it doesn't match the Arri.


 
I think if I was on a shoot back in the day and I was comparing the F35 and the Alexa, I would have chosen the F35 nearly every time, very few scenarios where I would have preferred the Alexa.

I just saw a test where they are claiming the new RED Weapon now has 21 stops of dynamic range. Considering Kodak only ever gave their own stock 14, one wonders how many we really need? I see people these days knocking cameras advertised with "only" 12 stops of DR - the same as Kodak Vision 2!
 
There was a film shot a few years back called "Legacy", starred Idris Elba in one of his first post-Wire roles. The DoP on that I was working with shortly after and he said they got a quote for shooting on 1.3x Hawks but the cost of the lenses alone came in at some frightening figure - it was well into five figures.
Anas are pricey, I priced up a set of the new Cooke Anamorphics for a four week feature next year. And the rental just for the lenses came to just shy of $20,000... for four weeks.

Yep. It's a shame how inaccessible they are, and there are precious few other options for 1.3x. When I looked at the Lites it was a $500 day rate per prime.
 
I think if I was on a shoot back in the day and I was comparing the F35 and the Alexa, I would have chosen the F35 nearly every time, very few scenarios where I would have preferred the Alexa.

I just saw a test where they are claiming the new RED Weapon now has 21 stops of dynamic range. Considering Kodak only ever gave their own stock 14, one wonders how many we really need? I see people these days knocking cameras advertised with "only" 12 stops of DR - the same as Kodak Vision 2!

The tide might be turning towards a new hyperreal digital aesthetic with films like The Revenant on the horizon. I'll still take inky film-curve blacks anyday.
 
I have seen the trailer for "The Revenant" projected a couple of times. I really don't think the look suits that film, at all - if ever I was going to make a case for something to have been shot on film, that would have been it.
 
I have seen the trailer for "The Revenant" projected a couple of times. I really don't think the look suits that film, at all - if ever I was going to make a case for something to have been shot on film, that would have been it.

The trailer looks like a live-action video game commercial.
 
I have seen the trailer for "The Revenant" projected a couple of times. I really don't think the look suits that film, at all - if ever I was going to make a case for something to have been shot on film, that would have been it.

Agreed, and interesting that we have two large format releases rolling out this holiday season, one being film and the other digital.
With the Alexa 65's massive CMOS sensor I wonder how bad the rolling shutter is.
 
Agreed, and interesting that we have two large format releases rolling out this holiday season, one being film and the other digital.
With the Alexa 65's massive CMOS sensor I wonder how bad the rolling shutter is.

I don't think they actually ended up shooting much of The Revenant on Alexa65. The crazy wide angle lenses Chivo used won't cover the sensor, so I read somewhere that it's mostly conventional Alexa.
 
I don't think they actually ended up shooting much of The Revenant on Alexa65. The crazy wide angle lenses Chivo used won't cover the sensor, so I read somewhere that it's mostly conventional Alexa.

They used Hasselblad Prime 65 lenses. I hear most of the film was shot with a 20mm lens. The Alexa 65 was definitely used a lot, they probably shot the whole movie with it.
 
They used Hasselblad Prime 65 lenses. I hear most of the film was shot with a 20mm lens. The Alexa 65 was definitely used a lot, they probably shot the whole movie with it.

I haven't the foggiest, but according to a bloke on RedUser (who says he heard it from friends who were on the shoot) it's Alexa 65 for landscapes, and regular Alexas for the main cameras.
 
I haven't the foggiest, but according to a bloke on RedUser (who says he heard it from friends who were on the shoot) it's Alexa 65 for landscapes, and regular Alexas for the main cameras.

That's interesting if true, considering how the 65 is part of the PR machine for the movie at this point. I was planning to see it for just that reason.
 
What propaganda, err, um I mean PR?

http://www.hollywoodreporter.com/behind-screen/birdman-cinematographer-push-envelope-revenant-773966

bts_single_shot_look_birdman.jpg
 
^^

If you are implying that The Revenant was shot with normal Alexas, that's a photo from the Birdman set.
 
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I finally feel like I am close to everything being right on this setup. Still need a way to get the handle out from the body with a rosette arm but I honestly like to rest the grip on my palm rather than grab onto it, or loose the handle all together and grab the rods. I have the movcam handles also so thats always an option.

I could route the cables through the camera and out the front plate via the control panel port but I would need to re-crimp the BNC and not sure this is worth the effort. Sometimes you want to move the 7Q to the back and then having cables out the front isn't helpful.

I am using small rig top handle and evf arm. I switched to the Nato sliding design so I could use the sliding mechanism as side to side adjustment for the 7Q also. I also have a cineroid EVF to go on the arm and lines up nicely with eye level, Nato rail solves the issue of getting the evf in line with the operator. I think in this configuration the 7Q would come off the rods on the back. In terms of function, the 7Q is near perfect with the F35. In terms of form, a SmallHD 502 that had a built in recorder would be the perfect way to add recorder without adding bulk. I love my 7Q, but outdoors, especially in a sunny place, leads to the need for an EVF. In any case I need the function of the 7Q on my F35 always so I think using it as the display when possible solves the bulk, my only disappointment has been in the sunny sun.
 
hahahah I made that at a CNC shop. Notice i did a bit of dremel work, completely removed the top dock and the metal that surrounded it. Not for the faint of heart. I was committed to the fact that I would only be using a single dock on the back to tap into the dual link on this camera and the top would only ever be for mounting/handles.

Has anyone used the HDVF-20 on their F35?? I know it has been overlooked quickly as a B+W bulky viewfinder but I was actually interested in the B+W, coming from ENG world, B+W can be a lot easier to focus on through a viewfinder. In SLOG mode, why does color matter anyway? I also kind of like the built in mic holder. Thinking about getting one for my F23 unless someone knew a great reason why these 20's are not worth it. Looking to pay around $500 also which is a whole lot better than the $1500 for the C30W. Anyone with a C30WR is very lucky, they have held a very high value, close to the value of the bare F35 head which is crazy when you think about it.
 
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