Who says adapters are dead?
- Thread starter hoarp001
- Start date
Tim Naylor
Veteran
I recently relieved myself of all adaptor related gear. I found them to be excellent for exterior work but somewhat not so cost effective when you have to light a set. But the worse part was that I found myself with just about every adaptor I owned (except the Blade) becoming an expert in adpator repair. I can take apart and rebuild them all. It's okay if you shoot alone but when you got a crew on the clock.....
Make no mistake. The image from adaptors can be stunning (even vibrating ones). But what I found in my market is that clients want either 1/3,2/3 or RED. The glut of RED's in big production cities has really driven the price down and at least in NYC, you can get a RED w/ Nikons for not much more than what I used to rent my HVX/Adpaptor/Nikon package for. And if you can afford PL mount glass, then the adaptors economically make no sense.
Until that magic SLR or some new cheap 35mm vid cam comes along, they'll still have their place in markets not infected with the RED virus.
Make no mistake. The image from adaptors can be stunning (even vibrating ones). But what I found in my market is that clients want either 1/3,2/3 or RED. The glut of RED's in big production cities has really driven the price down and at least in NYC, you can get a RED w/ Nikons for not much more than what I used to rent my HVX/Adpaptor/Nikon package for. And if you can afford PL mount glass, then the adaptors economically make no sense.
Until that magic SLR or some new cheap 35mm vid cam comes along, they'll still have their place in markets not infected with the RED virus.
smithy
Well-known member
I think they be will around for a while...afterall even though the red is now very popular, it is a whole different market for most beginning filmmakers to use. Not to mention there is a slow resurgence of 16mm filmmaking that is happening, especially in the Ultra-16 format that is driving people, like myself, into that world. So having to be able to keep both formats as a option, gives the future client a choice without a lot upfront costs for the filmmaker.
Tim Naylor
Veteran
Red packages r cheap to rent, even more so with Nikons. Scarlet will make 35mm entry even cheaper. Please explain what are the advantages of Ultra 16 over S16? Considering no one blows up optically anymore, cropping S 16 in a DI is no big deal. And having the exrta safety above/below 1:85 is better for things like hairs, boom, etc.
smithy
Well-known member
Converting to Ultra16 vs super16 : Ultra 16 has the advantage of lower cost in conversions since the you don't need to move the lens to compensate for the bigger gate, in addition it is a lot lower cost. In addition, you can shoot ultra-16 and still be able to use regular 16mm lenses vs super-16 lenses. Also you can also shoot regular 16mm thru the same gate. In addition you can use double or single perf film in ultra vs only single film is used in Super-16. I fortunately have a lab that will do my processing (alphacine) and a DI (Cinelicious) here in LA that will work with ultra 16.
Here watch this:
http://vimeo.com/2294025
http://vimeo.com/6506891
http://vimeo.com/7091040
Read this it should answer a lot of questions.
http://marylandfilms.com/16mm-super16-ultra16-compared.html
Here watch this:
http://vimeo.com/2294025
http://vimeo.com/6506891
http://vimeo.com/7091040
Read this it should answer a lot of questions.
http://marylandfilms.com/16mm-super16-ultra16-compared.html