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  2. David Mullen ASC
    They might be in an overcast day interior situation where they want the mix of warm tungsten practicals and cold daylight. They might be under Cool White fluorescents and want to get closer to neutral. They might be using big tungsten units for sunlight effects on stage and want them to render warm without gels, perhaps filling with cooler LED's. They might be going for a pale blue moonlight effect by lighting with daylight fixtures. They might be going for a pale blue daytime effect by lighting with daylight fixtures. They might want a very warm effect from tungsten practicals or flame sources.
  3. Frank Hegyi
    Sold
  4. Layne Inselman started following Indie Tricks-of-the-Trade, or how to get good production values on a modest budget
  5. Glauber Lima
    Hello, I am in the market for a motorized K3. If you have one for sale please DM me. Thank you.
  6. Jae Christsensen started following 4500 Kelvin Interiors
  7. Jae Christsensen
    Team good evening!I mostly learn cinematography from forums and behind the scene videos. Can anyone tell me why i see so many bts videos where peoole shoot at 4300 kelvin indoors?
  8. Dom Jaeger
    Panavision’s Primo Artiste lenses are an interesting large format choice that combines modern mechanics with a “detuned” optical formula that introduces some lovely imperfections. Worth checking out if you go the large format camera route. Vignetting can easily be added in post.
  9. Will Edwards
    I opened up the front, but the shutter is enclosed in it's own "box". It is sort of visible if you just remove the lens and look through there, but the widest angle I could get it (it is adjustable via a knob on the front of the camera) where it was still visible and measurable was 85 degrees. Since the best estimate of the widest shutter angle is 160 degrees, I'll have to try that and see how it turns out. According to this website, 160 degrees at 16fps is 1/36. (As has already been pointed out to me, but it still is a useful site)
  10. Michael Carter started following Longshot: Kodak K-100 Maintenance Manual
  11. Michael Carter
    Good luck getting one. I sow one of these cameras at a show but it ran so loud I almost dropped it. Needless to say I didn't buy it.
  12. Dom Jaeger
    Certainly not worth more than $10 at a trash and treasure market.. You can polish and recoat old glass elements (at some expense), and split glued doublets to re-bond them when the old glue has deteriorated (again at some expense), but cracks are pretty much unfixable. A chipped edge can sometimes be painted black to avoid the internal reflections it causes. That lens will probably vignette on anything but telephoto focal lengths anyway, and doesn’t have any visible focus marks, so it’s not a great candidate as a DIY anamorphic adapter, even if the glass was OK. For $10 it might be a fun effects lens if you ever wanted a washed out, blurry and degraded anamorphic image..
  13. Dom Jaeger
    Almost any PL mount lens should fit, the ones to watch out for are lenses made for the 16mm format (which can protrude further out the back and hit the mirror/shutter) and very occasional modern lenses like the Angenieux DP zooms that also have longer rear protrusions which were designed only for digital cameras. I have heard also that some of the newer budget PL lenses like Xeens which have short, large barrels can foul on the sloping fronts of certain film cameras, but I haven’t tried the combination myself. Certainly Zeiss Standard Speeds are fine to use.
  14. Dom Jaeger
    Yes the shutter is accessible when you lift the front to lace the film in the gate, so you should be able to see the angle of the open sector. Even a rough estimate will do - the difference between say 160 degrees and 150 degrees is 1/36 sec vs about 1/38 sec at 16 fps, which is only a fraction of a stop. There doesn’t appear to be any mention of the shutter angle in any literature I’ve got or can access on the net, but here’s a still from a film about the manufacture of Parvos that shows the shutter: Looks to be about 160 degrees, so try 1/36 sec.
  15. Yesterday
  16. Joe Gill started following Arri 35-3 Lens compatibility
  17. Bruce Greene started following It is hell being an old cameraman
  18. Bruce Greene
    Eh... It's no so bad 🙂
  19. Gregory Irwin
    Nice! I like your style! I couldn’t be in New York for the cast and crew screening so I probably won’t see it until I take my entire family to See it at a retail theater here in Atlanta. G
  20. Robin R Probyn
    Those running shoes with gel in the heals are the way to go for long days standing, and they do help with hand held ..
  21. Daniel D. Teoli Jr.
    Good for you Perry! Someday I hope to buy the 4K model...but lotto is not cooperating.
  22. Daniel D. Teoli Jr.
    Who makes the 5K sensor with more noise? Are sensors easily swapped out with Scanstation?
  23. Joe Gill
    Say - I've been asked if a Zeiss standard Distagon (2.1) lenses fit on the camera, and it got me wondering if there is a list of what lenses will and will not fit?
  24. Zane Farmer Zane Farmer joined the community
  25. Zane Farmer
    Hey I am on a very tight budget but looking to purchase your studio. Just the body, I have an offer ready. Would you email me and we can discuss possible options?
  26. Joe Gill
    Sorry - I meant to say - are the pins on the cable from the NETWORK connector to the same connector on the Cinedeck EX straight across - 1 to 1, 2 to 2, etc all the way or is there a crossover pair like in networking cables?
  27. Simon Wyss
    Will, if you would take a photo of the shutter, with a long focal length and as perpendicular as possible to its surface, put it on your computer monitor, zoom a little in, then you could measure the open angle easily with a protractor. As much as I know it seems to be 160 degrees.
  28. Chad Mahadevan
    Yeah, we're most likely to go this route, as I'm trying to steer the creative towards a less mirror-like effect and more of a standard reflection. Also white other than black flooring...
  29. Daniel D. Teoli Jr. started following It is hell being an old cameraman
  30. Daniel D. Teoli Jr.
    When you stand for a short period of time your ankles and joints crack when you move and get in the sound. Heavy breathing has to be suppressed and gets in the sound. When you handhold on the shoulder heavy breathing can raise or lower the camera. Then your shoulder is pinched the next day from holding the camera. You are always choking up and trying not to cough. …it is hell being an old cameraman
  31. Daniel Rocque
    yes it is. Still interested
  32. Manu Delpech
    Bringing this thread back because I'm still wondering about this, I doubt anyone will see this anyway. John Holland said that they were set to shoot on film (for this one) until a few weeks before principal photography began. I asked him a while later if he knew why but he didn't have an answer. Considering there's a lab in London, why would they shoot digitally? Also interesting to see then Rousselot saying in Definition Mag that him, Yates and the producers decided to shoot digitally early on?! On another note, this and The Crimes Of Grindelwald are really gorgeously shot films, the Alexa 65 looks quite beautiful on TCOG even though I'm so bummed they switched to digital, I somehow foolishly hope they can switch to film on the third one. FBAWTFT is a really interesting study case though, I usually don't care for digital but Rousselot and Yates with the aid of course of Stuart Craig's production design, Colleen Atwood's costumes and everyone else managed to do something pretty unique on this film (in the digital realm). I don't know what it is but they've really achieved an actual textured look with this, the G-series definitely play a part in it as the fuzziness on the top and the bottom of the frame, in addition to the lovely barrel distortion, and the glass itself add a lot of that texture but man, it looks far more "filmic" than most digitally shot films out there. There was only one, alas, article on the film on Definition Magazine where Rousselot talked about his work and he didn't mention any special treatment in post, I figured maybe they added some grain, because there IS some kind of gauzy, thin grain like veil on the image. He said they pushed it to 1280 ASA in night situations, but it's also there during some of the day stuff. It was surprising to read Rousselot swear off anamorphic on TCOG (after shooting anamorphic for a while) and saying they wanted to go spherical and bigger format on TCOG, I think they lost some of that texture in there (though TCOG still has texture of some kind, looks cleaner though). Anyone interested in discussing this? 😄
  33. Phil Connolly
    http://www.cineressources.net/consultationPdf/web/o000/304.pdf I found this, some info but nothing about shutter speed. The only reference to exposure I found in the document: "Perfect determination of the diaphragms to be used may be effected by looking at the picture on the film directly through the magnifying glass and progressively closing the iris diaphragm of the lens by means of the diaphragm rod, until the whites and blacks begin to shade off" So good luck with that. It reality it likely to be in the ball park of 160 to 180degrees. Maybe test with a shutter speed of 1/30 per second and take it from there
  34. Phil Connolly
    I guess it would need to be a solid poured floor rather then sheets, maybe some kind of epoxy that could be polished. It might be more practical to use the sheets and paint out the seams in post.
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