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I got involved with the vari-speed sync stuff about 15 years ago, for a music video production company that was trying to be the place to go for the effect. We did a handful but I think the only ones you're likely to find online are Counting Crows 'She Don't Want Nobody Near' and Nikki Minaj "Check It Out'. Unfortunately, I think the Counting Crows effect is pretty subtle (although watch for the banding in the video monitors), and the Nicky Minage video used longer stretches at one speed and is so layered with stuff that so you don't really see the speed pulls. We modified an old sync dubber, which was a piece of post production gear, to slave to the tach signal of the camera. The Arri 435 can do a speed pull while adjusting it's internal shutter angle to keep a constant exposure, so we could ramp it up and down from 12 to 48 fps in one run. The sync dubber would lock to the camera tach and speed up or slow down at the same time, sort of like an extreme version of the old pilot tone strategy. With a bit of practice, you could do a verse at 24fps, drop to 12 fps and do a weird bit, and get back to 24fps in time for the next verse - and it would all be in sync. On the Nicky Minaj video we also had a motion control system that gave us the ability to do multipass where the different layers were running at different speeds, but again, some of it is so busy it's hard to tell exactly what is going on. Check it out around 2:09 Counting Crows: Nicky Minaj:

2x Lexar 2TB CFExpress 4.0 Brand New Open Box

PROCEED WITH CAUTION! I bought the two rolls of 5219 mentioned above. They never arrived. I asked for the tracking number multiple times, but he never provided it and instead ghosted me.

PROCEED WITH CAUTION! I bought two rolls of 5219 from him. They never arrived. I asked for the tracking number multiple times, but he never provided it and instead ghosted me.

I shot this little short with my mum about a month ago. Used a rex 1 Bolex, 250D and an assortment of c mount and adapted nikon glass. Enjoy!

I have a request in about an ATA Carnet. I'll update when I hear back.

I've posted this one before. I'm still quite fond of it. It is the first film Emma Laird appeared in, before her stellar ascent as an actress.

I don't think that people that call for more "vintageness" from 16mm are necessarily the ones shooting the most footage or some kind of a representation of the majority, they might be more vocal or visible in the socials though. I'm quite confident that anyone really strong on shooting 16mm, genuinely wants to get the best possible image outcome from the film stock with as little issues as possible.

sure thing buddy

That is... annoying. I recall seeing 16mm film shorts from over a decade ago and thinking "wow this actually feels quite modern and even better than ALEV 3 in many aspects."

Hello everyone, I am shooting inside a metro's driver cabin in 2 days time. I will be shooting at night and there will be two characters inside the cabin. What is the best way to light it up considering it's a very tiny space and I don't have a lot of budget. I am carrying Astra lights both 2 feet and 4 feet plus a full kit of MC Pro lights, I also have couple of aperture 600x and Godox Matt 2x2 lights. Attaching photos in link for reference. Any advice will be very helpful. https://drive.google.com/drive/folders/1OyYGIHkQ_P1fp8a3oeLaSAD49ikl_Otj?usp=share_link

Hey there, Really interested to know the technicals behind the speed ramping in the Ava Adore video. By the sounds of it this was enormously complicated and caused big head aches on set to the point they nearly dropped that aspect altogether. Are they changing fps in camera during the take and then exposure adjusting and changing dolly tracking speed as well as Billy and the actors performance speed. My god.

Hello, I'm looking for Elite 4.5mm fisheye Pl-mount for super16. Preferably in Europe. Email: kiiskianton@gmail.com Best Anton

Smaller parts of the first batch went to cnc machining now. The first batch is the 10 magazines I pre-sold earlier, if someone wants to order from the intermediate batch you can send the order this week. These are preorder-only magazines, it costs too much to make extra ones as the whole magazine is cnc machined from aluminium and stainless steel and is thus expensive to make. The magazine design has changed from last week and I evaluated it can be made to work with core loaded film too if changing the film platters and adding a special core adapter. the different platters and the core adapters would cost about 500 euros extra per magazine.

SELLER OPEN TO MAKING DEALS OUTSIDE OF EBAY!!!!

Just a different vibe that's all. I just personally like that separation from subject to background which is not possible to do with the same field of view on smaller imager systems. Maybe it's because when I was younger, it was something I couldn't afford to do. Now that I'm older, I feel like I want to use it more because I couldn't in my past.

Yea, it's a good question. I think in any project, when there is dialog and plot movement, you want to focus on that, so music tends to be left out unless there is an emotional reaction. With documentary work, I feel music helps retain the audience, especially if it's just generic b-roll stuff, like most of my projects. If there is someone on camera talking, you can back off the music generally, unless there is an emotional point the filmmaker is trying to get across. One of my favorite short documentary pieces is a black and white short about the Griswald Splicer company. They didn't use music because the atmosphere of the facility was PURE GOLD. The recordist, must have spent a lot of time recording the different machines and they had such amazing b-roll of them. Nobody talks on screen once, it's for sure an MOS camera doing the shooting. It's a brilliant way of making something and it withstands the test of time. If I were to make something similarly, I too probably would not use music, because the emotion in the machines and the people are too precious to cover up with music. On my train films, I always give moments of no music, just so you can hear the sounds of the area, but non-train people would get bored without it, I know, I asked.

Thanks for posting those. They're very well done and concise. I have one criticism, but it's not unique to your films: there is too much music in too many online videos and it's very annoying. Why? Why do creators think they need music over everything? And not only that, but it's too loud and not that good. It's a disease. Having said that, you didn't commit the worse atrocity. For expressionist films, like the one I posted, it works well if done well. But for other types of film, no.

We now have digital cameras with the resolution of IMAX that are surprisingly affordable. Like the Blackmagic Pyxis 12K. It does force the film people to ask the question: do we need to shoot IMAX movies on film anymore? A further point: when are people going to stop attaching sensor size to image quality? With digital cameras, that relationship is elastic. Some people say they want progress in tech, but then refuse it when it is produced.

Not a great loss IMHO.

Yes, it's good music. I'm a musician too. I think quite a few musicians are interested in filmmaking -- I see music as similar to film in that both play out over time, both start, and run their course through time. I think the world can be beautiful with people -- it's just more of a challenge. Nature is beautiful, but lonely. But still, it's beautiful. Thankfully we've still got nature to enjoy. The world hasn't all turned into an industrial workshop just yet. The great thing about music is that you don't need a film crew or a big budget to do it. Just grab an instrument and play. Or sing. So simple. Filmmaking is so complex most of the time.

This is great man, I love your music.

You could say that digital moved the goal posts for film just as much. Before digital, Kodak kept working on making film finer-grained with better resolution, but after digital, people wanted film to look like an older "retro" technology.

Yea, you and me both man. Ever since I saw Joker on 70mm, I have been sold on digital finally working. It was just down to brining that look to lower cost cameras and I feel like it's happened. The consumer film-only people are for the most part younger and grew up with digital. So their rejection of digital is purely the same rejection so many of us middle aged people have with records, cassette and VHS tapes. Plus it's very hipster to have a CRT setup for your Nintendo 64 and VHS player. Those same people have two dozen old stills cameras and home movie cameras, with probably 1% of them ever being used. None of them are actually serious, they're just messing around. They will always move the goal posts, because it's not about quality, it's about vibes man. The commercial film people shoot whatever the client wants. Some of them may be hipsters, but the majority of them are just creatives. I don't know a single one who lives in an all-analog lifestyle like the hipsters pretend. It's funny because few weeks ago, this super awesome music industry guy came over. He did a music video on 16mm, I was scanning it. Anyway, I sat him at my all-analog stereo and threw on some audiophile records. Man his mind was blown away, he spent over an hour listening to multiple albums and at the end, kinda understood where analog sits today. His first shoot on 16mm came out perfect and his listening experience on a very old technology was also flawless, even better than some digital representations. When I talk to hipsters, they can't even grasp those things. To them, it's not about seeking the quality within the analog medium's, it's simply about the vibes they get from it. That's why in the end, it really doesn't matter what they say or think about it. They still secretly shoot nearly everything on digital and absolutely listening mostly to digitally. They just make a fictional representation of who they want others to think they are, which is unfortunate.