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  2. Hey everyone, I'm just starting out working on a pre production of a new shirt film, which all be shot in a car. I was thinking shooting with a full frame camera because of how small the space is. The thing is, right now in the market there are not a lot of cinema full frame cameras and the ones who do exist are a bit out of our budget. Do anyone know if there is a good and possible way to make a super 35 camera - full frame? Or at least wider? And also, if somebody have exprience shooting inside cars as well, I would love to hear from your experiences. Thanks everyone
  3. Today
  4. Thank you! I will try and ask bright tangerine. Christopher, can you recommend me a hard or cloth measure tape?
  5. Hi everyone, Selling a pair of Samsung 960 Pro 2TB NVME M.2 SSD Drives. If you need these bad boys you probably already know why - because they’re the highest capacity 2-bit MLC NAND M.2 NVME SSDs on the market. 2-bit MLC NAND is the only option out there for SUSTAINED high read/write speeds, and Samsung’s “Pro” series are the only consumer SSDs that offer it. Everything else uses (at best) 3-bit TLC NAND modules with a high-speed cache - and as soon as that cache is filled (which is always going to happen at a certain point on sustained sequential actions) your performance will plummet. Where these really shine is for data wrangling hefty raw video files (for big sustained transfers off high-capacity camera cards - with zero slow-down), or for when you need a high-powered cache drive for video editing or colour grading. $725 USD / $990 AUD each + shipping Located in Melbourne, Australia, but happy to ship wherever. **I also have a Highpoint 7101a 4x M.2 PCIe card available which can hold up to four of these M.2 NVMEs in a single PCIe slot (compatible with any Mac Pro or PC with a dedicated PCIe 3.0 x16 slot). If anyone wants both of the 960 Pros and the Highpoint card, I can bundle them together for $1,755 USD / $2,400 AUD + shipping
  6. Was wondering if EVERY motion picture lab can procces SLR's 5219
  7. Put two parcans on a double header and pan. Extra bonus points if you lay track and ratchet the stand to a doorway dolly to get some extra movement.
  8. I focus almost completely by monitor. We shoot at such high resolution with such a narrow depth of field that it's virtually impossible to focus by distance. That being said I still carry and use hard, cloth and laser measures to check marks and to find matching frames for coverage. Personally, I wouldn't use a leather tape measure because you can't get them wet. And you have to replace soft tapes every couple years when they stretch anyway so why bother spending a lot of money on one.
  9. Hi Thomas and Teunkie Thomas--I was just wondering how you got along with your power supply? I recently (like 2 days ago) acquired a big lot of 16mm gear including an Arri S and and Arri S/B (both working), a Tobin sync motor, the Tobin miliframe motor, the Arri variable motor, and the Arri fixed speed motor, two 400 foot magazines, torque motor.. (and a broken Beaulieu R16 and loads of glass). Anyway was curious what you came up with for power. I do like the idea of using V-mount batteries. I have a few of those already and I need to test the Arri motors. Both cameras worked with the Tobin motor--I was able to test that with a 12 volt 4-pin power supply that I borrowed from my LRH but i had no way of getting power to the 8v motors. If I got that plate I would just need someone to build me a pair of cables--one to a 4 pin for the Tobin and one to the original Arri plug. I have two of the AC cables so I don't have to hunt for the connectors. Anyway would love to hear about your experience building a power supply. Tuenkie--how can I tell if the torque motor has been modified to 12v? c
  10. Thanks, Philip. I'm deciding between a set of lenses to keep (these and old standard speeds–or both) and I might just go with the standard speeds. Both are really beautiful sets.
  11. Mint 9/10 condition Optar Illumina 9.5 T1.3. Bought it for a project that never came to fruition. This is a great lens, very similar in image quality to a Zeiss Super Speed (I tested this along side my Zeiss 12mm T1.3). The lens is absolutely mint, no marks on the glass at all, buttery focus/aperture, and factory caps. Cosmetically, there are only three tiny (less than 1mm) bright marks on the focus gear ring. The aperture gear ring is blemish free. PM me for more info, images, etc. I'm fairly new to the forum but can provide feedback from the fred miranda forum, ebay, etc. And, will cover PayPal fee for the added safeguard. $1250 including shipping and PayPal fees to CONUS OBO. Will ship via USPS insured.
  12. Be careful with threading anything in there, and try to use a filter or adapter with a brass ring, like B+W or Heliopan. I know that might be a big investment just to take a chance on a filter but if you use aluminum and the thread pitch or depth is wrong, the metals may bind up, nearly permanently. Then you're stuck using destructive methods (hacksaw, files, dremel) to remove the ring and those fine metal chips can scratch the lens as well as get into the focusing helical. Don't give up, just take your time and find the correct adapter to use. The friction-fit series adapters work pretty well as long as you're not hanging anything too heavy off of them. Phil Forrest
  13. Thanks for the information. That makes a lot of sense. I saw a Zeiss that was 47mm and a Canon than was 48mm from around then so was hoping it was something standard. Maybe I will try a 50mm ring out of curiosity. It is odd since the 75mm and 18mm are standard sizes and contemporaneous. And visually every other Isco or Schneider lens I have tried from that era is a 49mm thread, as are most Zeiss lenses.
  14. If it's a very fine thread, it is just part of the lens construction and not meant to hold a filter in. My C-Mount 50mm, 25mm, and 10mm Schneiders are all like this. The fine threads hold in the beauty ring and the optical cell. I've seen the same on older lenses for still film cameras in various formats. Before manufacturers established a thread pitch standard with standard widths, every company did things their own way and either used slip-on filter/hood adapters or used a proprietary ring to adapt series accessories. I know Schneider made a few of these in the 50s and 60s, and I recently looked at the price of one, from a shop in Hong Kong selling it. I could buy another lens for what he was asking. Good luck in your search. Phil Forrest
  15. Bright Tangerine used to make a very nice cloth tape measure with a leather cover, a replica of the famous old school Rabone tape measure. Doesn’t look like they sell them anymore. Maybe send them a message and see if they have any old stock laying around?
  16. Does anyone know if you can get an optical director's viewfinder that has 2.20:1 aspect ratio? There was a model by Cavision that has 2.20 but it doesn't seem to be available anywhere at the moment. Alternative is of course an app but I'd also like to play around with an optical viewfinder.
  17. If I remember, this app does: https://www.artistsviewfinder.com/ (It's the one I really liked)
  18. Yesterday
  19. Is there an app for 35mm film viewfinder ? ARRI's one has only the digital models .. i'm looking for standard 35 academy 1.37
  20. Yeah, right nowI'm doing exterior moonlit nights now with only 1 1/2 stops difference between the "moonlight" and the ambient "starlight." I also get costumes and sets to make nothing lighter in tone than the average skintone of the actors. Otherwise, you can't set your fill to anything consistent. You really have to compress tones for night work! J
  21. Hi everyone, It's my first post here. I'm a 2nd AC now for almost 2 years, and I'm starting to work as a 1st AC in small projects. I have a question about measuring tape, can someone recommend me a good cloth measure tape? Also, in the same topic - do you guys even think I should have one for pulling? I've worked with many young focus pullers who all worked through monitors but I've also worked with senior focus pullers who still likes to measure everything, I know they still work that way because that's what they are used to. I was thinking as a new 1st AC, that it will be better for me learning the job through measuring and then figure out next my way of work, what do you guys think?
  22. Even intermediate stock, can't resolve more than 5k. No way can it project more than 2.5k, even when struck directly off the original camera negative. There is too much loss in the projector. This is why the IMAX film format is the ultimate way to project.
  23. I mean if the had an 8k projection system, then we can talk. But the current system is 4k, they use two projectors to do active glasses 3D and to slightly blur the image so you can't see the lines between the pixels. So IMAX went from a 12k system to a 4k system. Come on.
  24. Yea, destroying the whole purpose of the format. If normal cinema cameras can be used for IMAX then it's no longer a special format.
  25. Hi everyone, another one of these weird questions from me. I'm looking for step up rings for vintage Schneider Cine-Xenon lenses. So far, the 75mm f2 seems to have 40.5mm front threads I think, and I have successfully gotten a step up ring for that. I'm looking to step up to 82mm, and the 18mm Cinegon seems to already be 82mm. But for the 28mm, 35mm, and 50mm I have tried I cannot figure out what filter threads to use. They look like 49mm and that's consistent with other lenses from that era, but the 49mm step up rings are a bit loose. Is it some other weird Series filter (series 6.5?) or is it 50mm? I have seen 50mm step up rings but they're rare. I want to use screw on NDs. I appreciate any help. Thanks.
  26. Thanks, Bruce. I read a bit more and it sounds like optical design I believe is the same between Mk1 and Mk2, but the housings cause a bit more vignetting with Mk1, so perhaps they are not appropriate for 3.2k Alexa after all.
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