This is my new project; we shot a motivational video,
and I decided on a whim to use the Super Takumar 50 1.4 and the Aivascope Anamorphic attachment.
I was really impressed with the result and decided to share it with you.
The link is here
This is my new project; we shot a motivational video,
and I decided on a whim to use the Super Takumar 50 1.4 and the Aivascope Anamorphic attachment.
I was really impressed with the result and decided to share it with you.
The link is here
This is my new project; we shot a motivational video,
and I decided on a whim to use the Super Takumar 50 1.4 and the Aivascope Anamorphic attachment.
I was really impressed with the result and decided to share it with you.
The link is here
Any recommendations about an old TV Zoom for a budget 100-200$
I saw it looks amazing
And interested
Any recommendations about an old TV Zoom for a budget 100-200$ ?
Any recommendations about an old TV Zoom for a budget 100-200$ ?
Tell me more about it, please. I am looking for something new that I have never used before
Sometimes I hear it doesn't matter, because you should close it for 1-2 stops down, but sometimes I see a new film, and they used it wide open, like a special optical solution
Tell me more about it please, I am looking for something new
Tell me more about it, please. I am looking for something new
Tell me more about it, please. I am looking for something new
The parfocal zoom achieved using an anamorphic attachment made my day.
This impressive experiment marked the beginning of something for me, and I’d be very happy to have the chance to combine this into a single lens in the future - I don’t know if that’s even possible in principle.
Perhaps something similar already exists; please share your thoughts in the comments.
This is just the first test; I’ll keep shooting with it in my free time to discover its best features
and maybe even learn how to work around its weaknesses.
Link - https://www.youtube.com/watch?v=khcTiDnLwe0
#nikon #zr #vintage #aivascope #filindustry #parfocal #zoom #konica
That's interesting—this varifocal zoom lens is really inconvenient for video work, but a chance experiment inspired me.
The parfocal zoom achieved using an anamorphic attachment made my day.
This impressive experiment marked the beginning of something for me, and I’d be very happy to have the chance to combine this into a single lens in the future - I don’t know if that’s even possible in principle.
Perhaps something similar already exists; please share your thoughts in the comments.
This is just the first test; I’ll keep shooting with it in my free time to discover its best features
and maybe even learn how to work around its weaknesses.
Link - https://www.youtube.com/watch?v=khcTiDnLwe0
#nikon #zr #vintage #aivascope #filindustry #parfocal #zoom #konica
What do you think about it? link
I recently posted my part of the story about lighting, and this is a follow-up because I was setting up lighting for regular shoots while my friend was working on super slow-mo today. The main idea that keeps him going is that, for some reason, most lighting manufacturers don’t make this feature available in their equipment—even after many years.
At that time, the most powerful unit on the market was 1,200 watts, and his lineup already included experimental custom solutions rated at 4,000 watts, capable of operating only with water cooling.
The first person to show interest in this project was Steve Girald, a well-known super-slow-motion cinematographer in the U.S., who bought a whopping four LEDs right away.
He then called to say, “You tricked me—your device isn’t 4,000 watts,” before chuckling, “It can actually handle 5,600 watts!”
You need good cooling.
A few years later, devices like the 2,500-watt and 5,000-watt models appeared, but they’re still not used in super slow-motion.
Yes, you can see them in some slow-motion videos, but still not in those shot at 10,000 frames per second or even higher, as a Phantom could do.
Of course, in terms of convenience and quality, large companies can do this much better than a couple of enthusiasts working out of their own pockets—just look at the cost of their software alone—but for some reason, this isn’t happening. Maybe they don’t consider this field useful enough for themselves, but as I understand it, only a handful of people film like Steve, and yet their videos are our main advertising on TV and the internet.
After my experience with the Aputure Storm 80C, I really enjoyed it, and now we’ve decided to try developing our own prototype using the same LED, because all the parts are readily available at electronics trade shows in China—some of them are still quite expensive, while others aren’t—and this requires time for experimentation.
By the way, one of the main reasons we continue to make our own lights is that we have the parts for them; they’re not difficult to repair if you know how to use a screwdriver or a soldering iron,
Based on our own experience—or that of our friends—when we’ve turned to the official service centers of major companies, the process could take too long, or they might refuse to repair the unit altogether, claiming that parts are no longer in production, even though it’s only been three years, and by the way, I’m talking about the Aputure 600/1200D units—so here’s my advice: clean it and replace the thermal interface on the LED regularly, or they’ll just tell you to buy their new 1200X.
Perhaps the world is currently moving in a direction where they’re trying to convince you to constantly buy new, new, new—so that you work solely to afford the next new purchase.
And the new isn’t always better than the old.
I saw one such review on the YouTube channel “Gaffer and Gear,” where Andrew talked about the new 400X and showed that in some ways they’re still better, but in others they’re not.
So, in reality, everyone probably knows this—or maybe not everyone.
But the point of the story is more that the price of ready-made solutions isn’t always that affordable, especially in some countries where income levels are simply low, or people don’t have a big budget—but they can still be talented, and damn it, I want to inspire them too because I’m one of them; I had nothing, and now this project is helping me gain wonderful experiences and make connections.
Even if one day I—or we—get hired by a major company, I still want to support young cinematographers or those who simply have a small budget—even if it’s still a DIY setup. Let’s be honest, gaffers on large-scale regional projects still love to solve problems with DIY solutions, and this works just as well for major Hollywood projects and beyond—so why shouldn’t we inspire young people with this?
And if you say, “But what about CRI? It’s so important!”
No problem at all—solutions with a CRI of 95+ have been available on AliExpress since 2021.
And if you say that’s not enough, I suggest you test some of your own lights on a colorimeter—you might be surprised.
And yes, there’s plenty of evidence that back in the days of the Aputure 300/600D, these devices could have a green or magenta cast—that’s one of the reasons this correction was introduced in the new series.
And similarly with Arri’s lamp-based cameras—it’s no secret to anyone—you install 10 new lamps in your 4K or 12K, check the color with a meter, and then your technician applies a color-correcting gel. They’ve been doing this for decades.
So, friends, if you’re also thinking about creating your own setup and are running into difficulties, let’s join forces!
What do you think about this image?
Shot on bmcc6k ff, 6*5 ff
What do you think about it 🤔
This is actually my first experience with 2x Anamorphic
How do you feel about it?
One of my favorite lenses
How do you feel about it?
A long time ago, I was browsing groups about cinema and was amazed at how cool it was to see lighting setups with such massive structures—hoisted up on towers, cranes, or simply lifted into the air by helium-filled balloons— and it seemed like something incredible and out of reach, because in my small town (or as we jokingly call it, a “big village”—since our town is closer in size to a city of a million people, but not in mentality; it’s quite primitive in terms of the film industry’s development, and all we have here are a few hundred photographers and fewer than 10 wedding videographers, and all commercial work is mainly shot in the capital—and “village” because the rates for our work are too low for it to feel like a city), and getting back to the point, it all seemed like a fantasy—how could we even apply any of this here? Because, well, who’s going to pay for all that?
After all, if we look at the prices of ready-made frames, fabrics, and equipment, they're fixed regardless of where they’re used or by whom.
It all started for me back in 2020, when—after having worked at a TV channel for six years—I watched a lighting course by Shane Herlbut, ASC, and learned that in filmmaking, a lot of things can actually be substituted with whatever’s on hand.
And that really inspired me.
Since then, I first started designing something similar to a KinoFlow, then something similar to the Aladin flexible light, and later I was inspired by an image from Lite Gear where they created a huge wall of light for the movie *Ford v Ferrari*, and my journey toward building Hollywood-style lighting took off, albeit in small steps.
“Why didn’t I just move to another city or country where all of this is available?” you might ask.
Maybe something was keeping me here, or maybe I was just afraid of change—but I only realized that years later; at the time, I didn’t know what I could accomplish there without knowing anyone.
Although I knew there were some incredible stories of people who, with only about $20, ended up in a new country and managed to survive and succeed, I still couldn’t bring myself to take that risk back then.
So, time went by, and I got to the point of designing my own LED lights—up to 500 watts or even 1,500 watts—and soon I realized that it was pretty cool that I’d gone down this path, because along the way I met so many enthusiasts in this field, and we became friends. And by the way, as of today, the project to build my own lights is gradually developing. But it requires a fair amount of investment, and I have no desire to give it up, because it’s still more interesting than just buying something off the shelf.
And it was exactly the same with making Frost frames and fabrics—I found neighbors who were making the frames, but it was still significantly cheaper for me to do it myself; as for the fabrics, though, I decided to buy them ready-made after gaining some experience with various DIY attempts.
Years later, I realized that you can actually shoot with as little or as much equipment as you want—it all depends on your capabilities and the task at hand—but my experience so far has still revolved around small crews or working solo as a best boy or a one-man crew.
It’s an incredibly difficult path, but the most interesting thing is that I enjoy it and it inspires me to live, because I’m able to create an interesting shot out of nothing.
And just when I least expected it, I was invited to join the IronGlass team because, as far as they could tell, I was popping up too often online as an enthusiast in my field.
That’s a different story, though, and if you’re interested, I’ll tell you about it too.
And if we compare homemade lighting to brand-name equipment, well, the latter is definitely a great solution—provided you can justify the cost in your situation.
I’ve had experience with them too, and they’re really cool.
To wrap up my thoughts on lighting, I want to inspire those who still dream of breaking into this field.
Take action, and you’ll succeed.