Jeff, Really like this look, and the filming. What f1.4 lens did you use on the Pentaflex ?
Hey Doug. Hah, talk about working within your limitations. Finally I can speak with some people who can appreciate the technicalities of how I pulled off an entire feature on a Pentaflex 16. Firstly, all the night footage was done on only two lenses, a 25mm and 50mm, both F1.4, and always shot wide open. I had to do all wide shots on a 25mm, which is practically like trying to do a wide shot on a 50 if you're shooting 35mm film, you can't back up enough! It made it very difficult to shoot in tight quarters. I had a 12.5mm and a 12-60mm Zoom, but they're both F2.8, so good luck trying to shoot at that stop at night without tons of lighting gear, so my long lenses became my savior for being able to shoot in low light. Shooting during the day is infinitely easier, as I just popped on the 12-60mm zoom, and used Fuji F64D stock. All of these lenses are proprietary and designed specifically for the Pentaflex 16 if I'm not mistaken, because I took them to a camera house and they couldn't even tell me what kind of a lens mount it was.
Pav, the sound on my film was an even funnier story. I do NOT recommend attempting to shoot a feature on a camera like the Pentaflex unless you're prepared to ADR the whole film, which is what we did. The Pentaflex is a very loud camera. We did record sound on the set, but only as a reference to the lines and inflection for the actors. I synced up the onset dialogue in post, but my camera noise and other general outdoor noise was definitely apparent, and we ADR'd all of the actors in a studio afterwards. No one who has seen the film so far has noticed that it's entirely looped so I'd say we did a great job. Also, the Pentaflex is not a crystal sync camera by any means. If you have it set at 24fps, it's likely jumping between 23-26fps as you shoot. Because when we got the footage back the dialogue did not accurately sync with their lips without slightly manipulating the speed of the playback. This worked fine for us, since once I found out what that speed was, I simply had the actors re-record their lines to match that speed anyway.
Suffice to say I've upgraded to an Arri 416 Plus now for future shooting, but I can be perhaps the first person to say that it is possible to shoot an entire feature on a Pentaflex. It is an awesome little camera though, with quickly interchangable 100' magazines, a great set of lenses, and a regular and high speed motor that can go up to 96fps, a lot of which you'll see in the trailer. I'd argue it's better than a Bolex anyday, and you can get them on the cheap on Ebay.