1. Cinegon 10mm f/1.8 on BMPCC


    from R73 Added 1,153 18 2

    These are some wide angle shots from different places in Berlin, all captured with the Schneider Kreuznach Cinegon 10mm f/1.8 on the Blackmagic Pocket Cinema Camera (BMPCC). Most of the images were shot at apertures between f/4 and f/8. At the end of the video you will see some night shots at f/1.8. The lens is very tiny and does not vignette at all. To prevent vignetting you should use big filters. The lens' front thread is 55mm but I use a stepup ring to attach 72mm sized nd- and uv/ir-cut-filters. Take a look at my blog post (in german) for some more info about this lens and other wide angle lens options for the BMPCC: - http://www.r73.net/2015/07/02/schneider-kreuznach-cinegon-10mm-f1-8-bmpcc/ In several images you might notice some hair in the upper right corner which is from the deadcat of my videomic pro. Sorry for that. I thought I attached the mic far away enough from the lens but obviously I didn't. License info: The music was composed by Lee Rosevere who released it under Creative Commons (by-nc 3.0). You can find his work on http://www.happypuppyrecords.ca and on http://freemusicarchive.org/music/Lee_Rosevere/. This video was shot and edited by Roman Mischel (http://www.R73.net) and released under Creative Commons (by-nc-nd 4.0).

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    • Angenieux 17-68 f/2.2 on BMPCC


      from R73 Added 2,257 33 8

      This video was shot with my Blackmagic Pocket Cinema Camera and the Angenieux 17-68 f/2.2 zoom lens which was invented in 1956. My copy is maybe 30 or 40 years old, I don't know exactly. I really like the visual character of this lens. It produces some beautiful and dramatic flares, as you can see in the video. The Angenieux 17-68 f/2.2 is a 16mm lens but it covers the BMPCC's Super16-sensor almost completely. It only vignettes at 17mm at its closest focusing distance and apertures smaller than f/5.6. Take a look at my blog post (in german) for some more info about this and other things related to this lens: - http://www.r73.net/2014/10/30/angenieux-zoom-17-68-bmpcc/ All of the images were shot in film log mode at ASA800 in ProRes 422 without an UV/IR cut filter and slightly graded (lift gamma gain and added saturation) in FCPX. Shot & edited by Roman Mischel (R73.net). Music composed by Chris Zabriskie (chriszabriskie.com) who shares his songs under a Creative Commons Attribution 4.0 license.

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      • Cinematography Show Reel - Arri SRII/Super-16


        from Aneesh Shivanekar Added 578 7 0

        This reel contains bits and pieces from all the films I've shot last year at Confederation College's Film program up here in Ontario, Canada. All these films were for 4-6 minute long shot on an Arri SRII Super-16 camera with either Kodak 200D/Fujifilm 250T film stock. Lumatech's Illumina Super-16 T1.3 PL mount lenses were used. They were all one day shoots with one 400 ft can of film with limited crews. I was involved right from pre-production to location scouting to being camera op. on the day and designing the lighting setups.

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        • RTF 367L - ARRI 16SR2 Camera Test


          from Francis Andrew Butler Added 98 0 0

          This is a camera test for the ARRI 16SR2. Kodak Vision3 Super-16mm 250D Color Negative Film

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          • By the Seaside


            from Prashantt Rai Added 288 3 4

            In today's stressful world, running is one of the best ways to connect with your inner self. And if you are running by the seaside, nothing like it. The sea is a natural healer. The short film was shot on High Speed ArriSR3 using Kodak Vision3 stocks. The whole shoot was completed in two hours. No lights and grips were used. I shot mostly in Magic hours right till the twilight faded into darkness. Most of the twilight sequence was shot at 36fps and I still had details in the shadows. Vision3 stocks are superb when it comes to handling details in highlights and shadows.

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            • Tear it up, Son!


              from Ross Nugent Added 320 9 0

              (Super-16mm transferred to HD) Backwoods ballyhoo straddling the Ahiah/Pennsyltucky border, sanctioned by $10 and a sign-yer-life-away waiver. Attended by up to 10,000 motherlovers some Fridays, this is Yankee Lake Truck Night. Yours truly was able to slip into the muck with a Bolex and nary a "whatcha shooting?". Yes, a simple thumbs-up for mud-slinging hot-dawgers passing by my rig, or my own intonation, "where ya from?" (to wit: OH, PA, NY, TN, KY, WV, MI) was enough to keep me rolling. OPENS WITH SOUND ONLY BEFORE IMAGE.

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              • Bottom Line - Teaser 2011


                from Viktor Skogqvist Added 12 0 0

                September 2011: Pirate Movie Production - "Bottom Line" Cinematography & Co-Editing by www.viktorskogqvist.com Buy the full length video on iTunes: http://itunes.apple.com/us/movie/bottom-line-pirate-movie-production/id471794764#

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                • "Always After (the Glass House)" by Iñigo Manglano-Ovalle (excerpt)


                  from Urban Video Project Added 621 3 0

                  2006 super-16 film transferred to HD video For the months of November and December, the Urban Video Project is pleased to present "Always After (the Glass House)" (2006) by internationally recognized multimedia artist, Iñigo Manglano-Ovalle. To view on-site documentation of this piece at UVP Everson, go to: https://vimeo.com/44240752 For more information, go to: http://www.urbanvideoproject.com/?p=670 Or look for UVP on Facebook: https://www.facebook.com/urbanvideoproject?ref=hl About the Video Employing footage shot on a high-speed film camera, "Always After" focuses on the broken glass accumulated after the windows of the Mies-designed Illinois Institute of Technology’s Crown Hall were smashed by the architect’s own grandson as part of a ceremony in advance of the building’s renovation. Manglano-Ovalle scrupulously edits out all clear reference to this odd ‘kill your fathers’ ritual, leaving the viewer with a dream-like sequence in which well-shod anonymous masses eternally exit and equally anonymous custodians endlessly move in to sweep up the crystalline debris of modernism. The precise nature of the event -whether it is a natural disaster, a terrorist attack, or just routine construction- never becomes clear. Instead, the narrative unfolds like a jacob’s ladder: never reaching the end, passing again and again through the point where modernist progress and crisis become indistinguishable –a point that is always already “after”. About the Artist Iñigo Manglano-Ovalle (born in Madrid, 1961) has had solo exhibitions at El Museo de Arte Contemporáneo de Monterrey and Museo Tamayo Arte Contemporaneo, Mexico City (2004), the Art Institute of Chicago (2005) and the Massachusetts Museum of Contemporary Art, North Adams (2009), among many others. Group exhibitions include the Whitney Biennial, New York (2000), Liverpool Biennial (2004), documenta 12, Kassel (2007), and at The Power Plant, Toronto, Canada (2009). For more information, go to www.urbanvideoproject.com

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                  • Chukchansi "Winners" :30


                    from Paul Abajian Added 75 0 0

                    This Super 16 spot was shot guerilla syle with Aaton’s A-Minima camera. The dilemma? How to make ten guys with one set of football uniforms look like two full teams. The answer? A lot of smoke and a little color correction in post. Hey, some things are worth fixing in post! Client: Chukchansi Gold Resort & Casino Agency: Jeffrey Scott Agency Account Exec: Bruce Batti Producer: Paul Abajian Director: Paul Abajian DP: Roger Morse Editor: Paul Abajian Colorist: Stephen P. Arkle Visual FX: Ian Mynderup Motion Graphics: Ian Mynderup Audio Mix: Dan Gustafson

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                    • Hooked - Teaser 2010


                      from Viktor Skogqvist Added 73 1 0

                      September 2010: Pirate Movie Production - "Hooked" Co-Cinematography & Co-Editing by www.viktorskogqvist.com Buy the full length video on iTunes: http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewTVSeason?id=396195619&s=143441

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