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Today's Office


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#81 Robin R Probyn

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Posted 25 February 2018 - 07:53 AM

Todays office..

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Edited by Robin R Probyn, 25 February 2018 - 07:54 AM.

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#82 Phil Rhodes

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Posted 25 February 2018 - 07:55 AM

Can't be here. The are trains, as opposed to apologies and a replacement bus service...
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#83 Robin R Probyn

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Posted 25 February 2018 - 07:56 AM

Can't be here. The are trains, as opposed to apologies and a replacement bus service...

 

Yes I long way from Liverpool Street.. :)..


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#84 Miguel Angel

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Posted 08 March 2018 - 06:19 PM

Looks a little 'fresh'! Whereabouts is that Miguel?

 

It was in the mountains in Madrid.. very crispy!!! :D


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#85 Dom Jaeger

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Posted 22 March 2018 - 09:02 PM

We had some workshops with Michael Cioni and the DXL2 here at Panavision Melbourne, first time we've seen the camera in this country. Looks pretty impressive, lots of features specifically tailored for ACs, best EVF I've seen, intuitive menu, 1600 native ISO and the pictures it made were excellent. There's been a lot of thought put into this design. 

 

DXL2 Cioni and set.jpg

 

Sorry for my picture quality, we had very low light levels (even just candlelight at one point) because the camera is so sensitive, and my iphone camera doesn't quite perform as well. :)

 

DXL2 workshop.jpg

 

One of the most fun aspects was getting to test the multitude of lenses that Panavision have for large format cinematography, including the new Primo Artistes, Primo 70s, T series anamorphics, and vintage lines like the System 65s (from the 90s), Sphero 65s (originally made for MGM in the late 50s and rediscovered a few years ago), Super Panavision 70s (Lawrence of Arabia, My Fair Lady etc) and of course the incredible 1.25x squeeze anamorphic Ultra Panavision 70s used on Ben Hur and reborn for the Hateful Eight and Rogue One. 

 

We also had a T1 Ultra Speed converted for large format; wide open at 1600 native ISO the candles were almost too bright! DOF was ridiculous. The ACs went a bit pale when that one came out.

 

 

DXL2 lenses.jpg

 

At least two DXL2s will now stay in Australia as part of the rental fleet, so I'm looking forward to seeing what local filmmakers and crews will do with them. 

 


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#86 Miguel Angel

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Posted 30 March 2018 - 03:39 PM

Last week.

 

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Steadicam operator Roger Tooley looking good! :D


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#87 Stephen Perera

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Posted 13 April 2018 - 05:10 AM

Shooting with Aaton XTR XC with Kodak Vision3 500T at the Gibraltar Crystal handmade glass factory in Gibraltar for their marketing......(image has notes to myself haha) I'm the one man band behind the camera of course, the BTS was taken by the client....

 

 

 

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#88 Jon O'Brien

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Posted 13 April 2018 - 06:58 AM

A winning combination: great location, artistic subject, and film.


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#89 Stephen Perera

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Posted 13 April 2018 - 08:26 AM

A winning combination: great location, artistic subject, and film.

 

hey thanks Jon! appreciate the kind words


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#90 Matt Thomas

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Posted 13 April 2018 - 01:42 PM

Last Friday's office. Time lapse edition!! 

 

 

We we're shooting a "Rube Goldberg Machine". Didn't build the entire thing so we shot bits and pieces to edit together to look like it was operational. 


Edited by Matt Thomas, 13 April 2018 - 01:48 PM.

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#91 Miguel Angel

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Posted 25 June 2018 - 02:33 PM

Last Thursday!

We had 50 meters of tracks to do a commercial for Deep River Rock in one single shot. 

We have 75 meters of tracks tomorrow and on Wednesday :D

 

IMG_3365-768x1024.jpg


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#92 Miguel Angel

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Posted 13 September 2018 - 02:32 AM

Last two days. 

 

Had great fun working with the Arrihead.. and the Cooke S5i lenses. 

Freya would be shocked, knowing that I'm an anti Cooke man hahaha. 

 

I fell in love with the images coming from the Cookes! They are quite beautiful. 

 

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Gamma Ray Digital Inc

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rebotnix Technologies

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Glidecam

Rig Wheels Passport

Willys Widgets

Broadcast Solutions Inc

Aerial Filmworks

Media Blackout - Custom Cables and AKS

Abel Cine

Tai Audio

The Slider

New Pro Video - New and Used Equipment