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  1. Today
  2. Your plan sounds good. I would agree 4x4ft (1x1meter?) floppy's, one or two, will cover close up and even medium close up shots. so if you don't have any wide coverage of a scene that might be quicker, The bigger frame will do a better job though if you have the crew to move it around and I'd guess it'd cover you about waist up or even a 2 shot. For direct sun your plan sounds good. with 35mm stock you could get away without much fill light I think, but if you want some extra light on faces you can bounce the sunlight back from the side. You can even do a big bounce on one side and add negative fill on the opposite side to create contrast on the face, but you might not need all of that, it depends on the look you go for. if the sun is in a good position and the location is good, you could be in great shape. Just keep in mind the sun moves fast, timing is key. When I was starting out I would always have trouble with these scenes because on the day it'd take an hour to get a take with the right performance and we'd be loosing light or it'd be changing. I always ask directors with sun critical shots to try to get rehearsals in and knock it out quick when the light is right. Some people might use light diffusion on the sunlight, but I never do that. Roger Deakins is very anti sun diffusion and I always loved his outdoor work so it just depends on the look you want. Do as much scouting and planning as you can. If the location is close by I might try to see it on both sunny and cloudy days and shoot reference pictures with a stand in. leave the lights at home. Unless you are shooting blur hour or have night scenes. for daytime your better off working with the sun unless you have much bigger lights and the crew to help.
  3. Yesterday
  4. I'm out of my depth here, but I have found that on an overcast day bead board and silver reflectors throw enough light for a decent offside key for CUs and then you can set up a solid on the other side and as close to the talent as will still be out of frame for close ups to give a bit of shape to the light. Even a 4x4 floppy will probably get the job done I think and be fast to move? Bring it right to the edge of frame and it should do quite a bit. Of course contrast filters will also be an interesting option for black and white. I think Schindler's List and the Lighthouse used quite different, possibly opposite, colors for a romantic vs more masculine and dreary effect. Nicely shot movies lol. I have been working a bit with Schneider Cine-Xenons (the poor man's Cooke S2) and their rendering is dull on overcast days. So you might want to use a matte box and mattes as they're intended to be used to bring back some contrast as those old coatings that look so nice in high contrast scenes will wash out in the day. In my world this means gaff tape around the lens lol, but a matte box and mattes would be good, too. Again, out of my depth and coming from a guerrilla background, but it might be impossible to achieve a 4:1 contrast ratio on an overcast day. And even if you can only do this in close ups, it will not match the wider coverage. So I would just do what you can. Lastly, composition is more important than lighting in most cases. Of course the two are related but if you can compose the images nicely and control the light relatively well that will probably be fine. A hard light like the aputure might prove too sourcey to intercut nicely. Try that really reflective bead board (they sell it here at Home Depot and at grip shops) and the silver side is very punchy. You can bounce into that or try putting it close to the subject and use the sky as bounce. It really works. For sunny days I put the sun behind the character (or just off to the side to avoid lens flares) and then cheat the characters slightly in close ups to improve the angle of the sun on their face. Again I am from the super guerrilla world but rather than using a frame to diffuse the light I like to bounce it back from the opposite side, and not even entirely as fill so much as slightly opposite the light so it has a 3/4 back light look. You can also put a bedsheet below the actor for his close ups to fill a bit more, too.
  5. In my experience, I've had great HDMI latency with: Canon C100's, C300's Sony FS7's, FS5's (I would imagine the same with their FX cameras) Black Magic Pocket and Ursa cameras (recent versions that do 4k) Panasonic EVA1 Is latency the only issue you have with EVF?
  6. Thanks! I am aware of that previous development. It is sad that the project faded out. The working principle was slightly different than on my system, I am having real crystal frequency reference signal generated within the system because it is then easier to design and manufacture the system in manageable size modules to make it customisable and easy enough to manufacture (after the programs are complete. they need lots of physical testing to be finessed which is why it is so challenging to make these systems in the first place.... there is nothing factory made you could use. or factory made stuff would at least make the system very bulky and lacking features so you really need to build everything by yourself. My camera had the battery leak problem too and the electrolyte had destroyed the back side circuit board tracks. So one would had had to make a new circuitboard by oneself if wanting to use the original electronics. The original Crystal unit itself is actually very simple construction and it is possible to make another one from off the shelf parts if needed. It should cost you about 4 or 5 dollars to get new parts for it... it is basically the crystal itself, couple of resistors and capacitors and a binary ripple counter which both lowers the frequency of the 3.6MHz crystal to the desired level of 300Hz and 38kHz and ups the voltage of the signal to 10V level to be compatible with the other system. (I think it was CD4020 binary counter. I can check it if you want, there is schematics of the original system in the user manual) . Alternatively you could just make a new crystal reference from scratch as long as it has the two needed output frequencies and outputs in 10V level. IF the hybrid integrated circuits on the CP16R board would get damaged then it would be much more serious. They contain lots of logic gates to mainly run the phase comparison logic. There is, however, their contents listed in the schematics as well so one could just make a similar functioning design from the standard logic gates which are available today. OR one could program a microcontroller or a PLD to do the same task. Repairing the heavily damaged old electronics would have been more work for me than designing and manufacturing a completely new Crystal Sync system because I already have most of the components and programs designed for other camera models and will just need to tweak and adapt them to work with the CP16R.
  7. Further to the above response, here is a link to an older discussion on the other replacement controller project.
  8. A few years ago, a guy in the US developed a modern electronic replacement for the motor controller system and also a replacement operator panel for the rear. They were to be marketed but it seems the project faded. The memory battery for the footage counter is the nemesis of the CP16R electronics. The battery leaks. Chemical gets into the crystal unit and also erodes the tracks on the PCB. Take care that the little teeth from a damaged belt do not get into any of the gears.
  9. Hi Paul,

    How are you? It's been a while. I was wondering if you know anyone out there that has a 235 4-perf movie camera for sale in the USA? I checked Visual Products they only have a 3-perf.

    Just looking for a very a basic camera body no film mags or AKS.

    thanks,

    Rob

    1) ARRIFLEX 235 Camera Body 

    (1) Integrated Color Video Assist IVS (PAL/ NTSC)

    (1) Medium Extension Eyepiece

    (1) Riser Pad

    1. Satsuki Murashige

      Satsuki Murashige

      Rob, don’t know if you saw Alexander Boyd’s for sale listing on this forum: 

       

  10. Hi Gregory, Is this still available? If yes please contact me: info@fabioolgiati.com Thank you
  11. Sorry nothing right now. The projector by the way is 1.85:1 which is the usual ratio of U16. It was more tricky to modify than the camera. I presume scanning services would also offer this ratio ?
  12. The camera is for sale again. I've made a new listing with infos, pricing and photos here:
  13. Hello community, I wanted to ask for some advice. Not sure if most of you would rely on mirrorless cameras, but I'm tired of getting info from YouTubers selling LUT packs. 😅 So if anybody has some comments on the topic, I'd greatly appreciate it. I shoot mostly video and I own a Sony A7 III. I'm not really happy with the 8-bit codecs (or the rolling shutter or bad IBIS), but I’ve got used to it somehow. I would like to upgrade, but I’m torn between switching to a Panasonic S5 or waiting for a “future” Sony A7 IV next year, hoping it does at least 4K 60p 10-bit (which is more than I would be happy with). The Canon R6 could be a good option as well, but it seems to overheat quite quickly... Right now I have only vintage manual lenses, so no sweat on changing systems. I may buy an autofocus lens in the future, but it’s not really a must right now. Sadly, I don’t have the funds to invest on a proper cinema camera or the new Sony A7S III, and I want to take stills as well, so selling and buying another hybrid is only option. The S5 has a great price and AMAZING controls, but the IPB codecs, 30min time limit, mini HDMI and ok rolling shutter make me wonder if it’s best to wait a bit more… Any thoughts? Greetings from Spain!
  14. I am about to buy one but not sure if it will vignette with Super 16mm. Also, is it easily adaptable to PL mount camera (it is Arri Standard).
  15. They have a 4m x 4m frame, so a bit larger than a 12x12 frame for us Yanks... It sounds like a good approach to me. I’d only add, try to schedule your wide shots for when the sun is where you want it and you can fake the tighter shots. Since you’re shooting B&W film stock, don’t forget that you can use contrast filters outside. I would also consider using ND grad filters if you get totally overcast and can’t darken the skies with Red or Orange filters.
  16. @Doug Palmer thanks Doug!! Could you share a link for those examples? Would love to see.
  17. It's one of the hardest things that any cinematographer deals with. A 4x4 is not considered big, especially not for negative fill in a wide shot, even in a close-up it wouldn't do a lot but if the actor is walking, it might be the largest thing a single person can walk alongside the actor. Otherwise you have to think a lot bigger. But once you set up a 12x12 or 20x20 negative fill to one side, you could use the 4x4 overhead to take some top light down too. How much you change the light from the wide shot in natural light to a close-up is a matter of taste and necessity. If you have to make a leading actor look good in a close-up, then you might have to forget worrying about the match to the wide shot in harsh overhead light... Otherwise, what I tend to do is use the lightest overhead diffusion possible, like Half Soft Frost or Quarter Grid, etc. so that there isn't a jarring difference in brightness compared to the background.
  18. Last week
  19. Hello everyone! I am currently in the last year at the film school here in Romania and I have to shoot a short movie on black and white film stock with an Arricam LT and Cooke S2 lenses. The story is set during World War Two, showing two Romanian soldiers and their encounter with two German soldiers. As of lighting, we only have bounce boards, floppies, diffusion frames and a 4m x 4m butterfly with ultra-bounce on a side and black on the other. Besides this, as artificial lighting for fill, I will have an Aputure 300D MkII and a KinoFlo. The thing is I can't really know how the weather will be that day. What I know is that for the wide shots I can't control the light at all, but for tighter ones, I want to have the contrast ratios on the people's faces at around 1:4. Is this a good approach for both sunny and cloudy weather? So I have to think about two different scenarios: Overcast day. For wide shots, I think I'll have only the natural light, but I am curious if the big 4x4 neg put next to the characters, out of the frame, will help to add depth or not? For closer shots, I would add negative fill on one side of the character and maybe add some artificial light source from the other side (to make the key level higher). Is this a solution or should I think of something else? Sunny day. It is good that being December, in Eastern Europe here the sun won't act ever as a top light. I planned the shots to have the sun either on the side or on the back of the characters. But still, considering this, how could I direct this sunlight to have the 1:4 (maybe 1:8) contrast ratio on actor's face? For wide shots, I can't do anything. But I'm afraid that if I try to diffuse the light for the close-ups, the difference will be too noticeable. What would be your advice on this situation? Thank you a lot. I am a bit afraid because working with daylight seems very tricky for me.
  20. Dear Aapo, forgive me for my late reply! Well, I have not started this project yet, until now I have only tested the camera.. Working on is really slow because I work too much inside the company :D :D Anyway, I was thinking to add a multi switch, with 10 or 12 position, in order to select only defined speeds. I don't want to add a display on it, since I really like the analogue look of the camera. The switch (that would look as a cronographer) would be backlighted in RGB, so that you could understand in it's running at the correct speed or if are happens some failures. Sure, one arduino board will not be enough to organize a checking circuit, so I was planning to add one more arduinio nano board for this kind of things. During the latest time I've studied a lot for the ham radio exam, so I'm learning a lot about electronics: I hope it will be useful for this project. Meanwhile, an 80 years old colleague (he used to operate on movies) gave me two xtal sync unit, a 2C camera and also a beautiful stroboscopic light! So, right now I don't need anymore my xtal sync unit anymore.. :D :D Dear Derrell, may you explain a little bit more? Thank you everybody!
  21. I tried the DI route as well and was let down each time for some reason. It feels like trying to recreate a look each time. Of course this is my opinion/preference - not some universal truth by any means. I have my database with different print light values at different ratings for stocks in accordance with gray chart under different circumstances named accordingly, i.e. "Late Afternoon Overcast." So I provide the timer what print lights to use at what sections or an entire roll on camera reports. Then I watch the prints to make sure everything's as I intended and then get the prints scanned. This workflow works for me.
  22. If anyone is interested about the progress of my projects, I am uploading videos to my youtube channel every now and then ( https://www.youtube.com/channel/UCRQ4FduL9HyTBzX34CDtY4A ) and also updating the camera specific threads on the "Camera Systems and Formats" forum section . This thread is a dead end so no sense to post anything here anymore :) I am currently working on some brushless designs too (the brushless motors are handy for some designs when for others it makes sense to use brushed motors. depends on what you do). It seems that some of the newest stuff may have limited amount of commercial value which is why I won't talk anything about those projects before they are finished. So lots of stuff happening, I am just seriously limiting what I want to post here on the forum or anywhere else.
  23. Thank you, Malcolm! That is the one. Turns out it is I who is in the 50-70 year old range! And not the book. Ha! And thanks, David, for the Fielding recommendation! That particular one has some great information on rear screen projection which will be helpful for a student in one of my classes!
  24. Thanks Tim, Not only did I not read it but I clearly missed the “read this first” part. Sorry for being a time waster.
  25. Steven - Did you read the Marketplace FAQ? I'll quote it here: You cannot edit a post more than a few minutes after it has been published (or 24 hours for Sustaining Members).You may amend a post by adding your own reply to the thread.Do not request an administrator or moderator remove your post when your item is sold. Just add a reply to the thread. "SOLD".
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