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  2. Hello everyone I will be visiting London in April 2024 and I was wondering if there's a place where I can rent film camera to practice shooting on film rather than digital as I wish to explore film although I haven't practice it before nor I live in place where film camera are still available. I also would love to learn how to operate on film camera and get more knowledge on the processing aspect but no luck in finding any workshops in London for this matter. If anyone could help in this regard will be very appreciated. Thanks in advance
  3. I have had a similar thing with the charger when using a 110v outlet instead of 230v. check the voltage listed on the charger.
  4. Today
  5. So I have an update on my camera. I looked up a few places who service Aaton cameras and the closest to me was Visual Products in Ohio. After talking to them on the phone and describing the issue we set up an appointment for the next week. I drove there with my camera honestly expecting the worst and probably would have to drop it off. Turns out it was an easy fix. One of the techs basically tested my LTR, saw the problem , took it apart and put it back together in like 30 minutes in front of me and explained all the mechanics. Then he checked for other miscellaneous issues, fixed some other stuff I didn’t know was wrong. He seemed like an expert on Aaton. I took a few more photos/video if anyone wants to see I can post it. Really impressive work for someone like me who isn’t really knowledgeable about old cameras. Like some of you said, Aatons are complex cameras inside, I didn’t think it had so much electrical wiring. So I can see how the electrical parts can cause big issues. But to sum it up, the techs and all the other workers was all really nice there. Great experience with them. I think all around it took like 2 hours and i was on my way back home. Any Aaton users on the East Coast/Midwest definitely should consider them. Ask for Jason and the tech name was Paul I think.
  6. Thanks Simon, could you explain what is different about the mounts? From what I have seen, these are both C-mount.
  7. A very exciting project and one I want to get around doing soon, too, on 16mm or S16. When it's art, or something traditional, hand made, hand painted, etc, that kind of thing, film is a wonderful medium that complements the subject. Yes, shooting digitally can be made to look beautiful too, but film has the natural edge and inclination towards giving the right artistic or traditional vibe to a project. So for this sort of short film I think real film is perfect, especially 16mm where you can see the grain but there's still enough quality in the image to make it look classy too. I want to do the same thing but with a violin luthier/maker. I'm thinking of turning it into a short drama work, writing the script for it. it would need minimal acting skills, or just 'being oneself' and no acting at all. There's something fascinating about the work of the luthier, the shop, the natural materials, the music. Fantastic project to work on.
  8. So what I'd do is wireless mic him and have him doing the work first on camera, forget sync. Then sit him down and go through the process in an interview. Like this:
  9. It sounds like you're really right on budget.. I would shoot digital and have a better end product instead of relying on 1 take wonders just to shoot on film.
  10. I didn't take a proper picture but the Movi XL was the way to go, surprisingly simple to set up even without getting rid of the Viewfinder, no steadi mags etc. 🙂
  11. Yesterday
  12. Not sure this is new advice but I'd really try shooting some stuff and building up a small portfolio of work you can show to directors. Some practical advice is to take what you like and copy it... "steal like an artist" as they say. If you're into short films, look at some short films, study what they're doing, what's working and not working and implement into your own stuff. If you like commercials, well do that. Essentially have a database of stuff you can reference for later projects. It also helps to build up a network of friends who are wanting to direct and collaborating with them, that way you aren't necessarily reaching up, but you are both working on the same level and growing together. Next best option is to start telling people that you want to camera op. that puts you directly in line with becoming a DP. If you're turning down AC gigs because it's not what you want to do but have little experience DP'ing it's going to be difficult for anyone to trust in your abilities. Just time, patience and perseverance. Disclaimer, it's going to take a while so be kind to yourself in the journey. There's a lot of DPs who didn't get their "break" till they were deep into their careers so hopefully you don't feel behind in your career. I'm certainly no where near where I want to be but trying to keep my head down and continue walking the path. You got this dude! Good luck
  13. sorry I misread the first post and did not realise it was about the guitarmaking process 🙂 You could have one of those tiny mini slates (or only the sticks) made for closeup shots and let the talent just slate the shots. Actors are fine with it on shoots where the set is restricted some way (car scenes, tiny corners, etc) so I am sure your subject would be happy to slate the shots for you if needed and tiny slate can be just hidden behind the guitar or put aside easily for each shot
  14. Volker, I didn't receive anything here through direct messages or on my external email account - maybe you messaged someone else? I sent you a direct message here on this site and it shows that you have still not opened it. Do you mind looking for the message I sent and sharing the photos? Thanks! Raaf
  15. Thanks for all the advice....yes it's simply me all the way through so I will go for announcing the take before rolling that way I save film and don't have to shoot a slate. I'm shooting a luthier making a guitar not playing it til later prob at the very end when it's ready...... I'm having a guitar made by hand by a luthier as a family heirloom that I want to pass down hopefully to inspire a grandchild to play it and at the same time see ME in the process via this short film or whatever it turns out to be! The funny thing is I can't play for sh*t and my sons are too young (20 and 22) and don't even have girlfriends at the moment so it's hopefully still a long time away Hahaha..... I met this luthier busking in Gibraltar some time ago and I invited him to play in my home in a get together with some friends and he played this guitar he made by hand which was beautiful and that sparked off the idea
  16. Price Drop: $12,700 Looking to get it sold this month before I decide to sell it to MPB.
  17. Hi Raaf, some days ago I had sent you a mail with attached photos. Should be what you ate looking for. Volker
  18. you have to know which take is which on the sound recorder. so you have to keep track of the files or alternatively announce the shot+take on the mic for each take. You are shooting a music performance but is it staged just for your film shoot or will there be an audience... meaning can you just ask the guitar player to make some kind of additional sound with the instrument before starting to play for each take and you can use that as a sync reference? tapping the body of the guitar to make a distinctive sound you can easily find, etc? You could probably sync most of the takes without clapperboard or any other reference, it just takes tons more time so good to make it easier if in any way possible. one thing which comes to mind is some kind of toy which has a button and when pressed it flashes light and creates sound at the same time. I have a seal pup key fob which does just that, you may be able to find something from local stores and it would make the shoot much funnier at least 😄
  19. it is to allows shooting other crystal speeds than 24/25 with the camera. Originally I developed it for my own camera which only has non-switchable 25fps crystal speed and I needed it to shoot 24fps crystal but it is of great value for any user needing framerate versatility with the LTR. The normal LTR only has one crystal speed (24 or 25, either user switchable with minimal tools or painful to switch or not possible to alter) and every other internal speed is generated with RC oscillator which is not accurate at all, normally the other speeds the camera has are off by about half fps or so and can vary depending on temperature and mood of the camera etc. The 50-speed external generator makes it possible to shoot even low speeds crystal sync (for example 1fps, 2fps etc crystal sync) and it enables crystal framerates like 23.976 (stuff going for web/file based instead of dcp) and 33.333fps (most common slow motion framerate when shooting on film). Additionally it is very handy to have 48fps and 50fps crystal sync speeds because they enable shooting slow motion effects for music videos with sped up playback, very common "cool effect" if the band is just able to play that fast 🙂
  20. I have a Bolex EMB that I would like to power with a V lock battery. I found this website that makes a battery plate with a V lock solution that looks nice but because the EBM is 12v only that wont really work since the v locks are 14v and up. I know there are battery plates who has built in regulators but they are so big and chunky. I would really like to have the plate on the back and still be able to look through the viewfinder. Does anyone have any suggestions?
  21. I was assuming that Stephen is going with what he has. Slating was essential when film and sound went from camera to sound transfer to syncing up/editing, all done by different people with no knowledge of the subject or what happened on the shoot. It was a standard to work to. Now all that infrastructure is gone, and it's just you, you can do what you like, you'll remember what you did. Maybe just tap the mic and call out the take number.
  22. the old documentary hand clap with notes trick can work. but if it were me I'd just have a smart slate thats jammed to your audio device. so long as sound is rolling, you dont technically need to clap it you can just open the arm and let the TC run, and pan the camera briefly to see the slate. you can then match the timecode manually in post. back in the day there were telecine machines that could actually take the timecode the Aaton would print onto the film and the tape audio and kind automatically jam the two in the transfer, but I dont think anyone is running a scanner anymore that can do that.
  23. ......thanks Mark yeah a handclap is what I was thinking of cos I don't have film to burn, I will prob shoot a ratio of 1:1 mostly and maybe 2:1 if I change angles for the same given the person is not 'acting' but Im shooting him doing his thing...the mic tapped with a pencil is a great idea haha
  24. Slating is the simplest way, but you don't necessarily need a board- back in the day a hand clap was sometimes used for documentary, and I've even seen a mic tapped with a pencil. Logging is easier with a slate and a spoken ident, but if you don't have a lot of takes you may be able to manage without. More recently a marker light fogging a frame and a beep on the tape were used, but you don't have the kit for that. You also don't have any sync reference between sound and film, so you will have to line up by hand in post.
  25. The 80A absorbs 2 stops, so you would meter at 25 with the filter on the camera. An undamaged filter shouldn't cause flare and if you use a filter holder you can line up your shot then drop the filter in for exposure. Gelling the lights will likewise cost 2 stops so unless you have a larger wattage lamp you will need to increase your exposure, but you will be metering at 100.
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