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This project is on hold at the moment, will need to wait for more orders to be able to move it forward. I assume it will take couple of months for the World economy to stabilize enough that people would be confident to invest on camera motors again. This will affect the schedule of the project but otherwise the goals stay the same: to make a reasonably priced and very compact and lightweigh completely new crystal sync motor for the NPR. Likely the price stays the same, 1200usd + shipping for the normal 2-speed version and about 1800usd + shipping for the version which has footage counter and 9 or 10 crystal speeds. it could be possible for me to make a OLED display version of the higher priced model, it depends on how many orders there is. there is pros and cons because the oled is less durable in the long run and takes more time and resources so it affects the motor body finishing level. But I will look for the possibility if there is enough orders to finance that kind of version. Let me know by DM or here if interested in this motor. I can start working on it as soon as there is enough orders in 🙂

bump.

This has been sold but I sent you a DM

bump.negotiable. don't hesitate to make me an offer. Mini Worrall geared head also available as a standalone purchase contact: nlastschenko@gmail.com

bump. don't hesitate to make me an offer contact: nlastschenko@gmail.com

bump. negotiable contact: nlastschenko@gmail.com

This is exactly the part I am looking for. Is this still available?

The Oppenheimer (2023) phenomenon The character Oppenheimer—self-contained and aloof; especially remote in Hour 3; a man apart. The character Strauss—not self-contained but integrated with the world (e.g., “common room, 4:00, tea”); not an Individual but enmeshed in socialisation (e.g., the character Oppenheimer lives rent-free in his head). Chasing humanness vs. the Inhuman. Only one is the Creator, the Artist. The other? A “salesman”. * (11:27) Oppenheimer and Einstein together by the pond : a memory of the pastoral. Polonius. As for Oppenheimer? Pastoral-tragical-revenger’s-love-domestic-political-historical . . . * * * Tricky [ enter Phillida and Galatea, both disguised as boys ] Phillida. It is pity that Nature framed you not a woman, having a face so fair, so lovely a countenance, so modest a behaviour. Galatea. There is a tree is Tylos, whose nuts have shells like fire, and, being cracked, the kernel is but water. Phillida. What a toy it is to tell me of that tree, being nothing to the purpose! I say it is pity you are not a woman. Galatea. I would not wish thee to be a woman, for then I should not love thee. For I have sworn never to love a woman. Lyly, Galatea, 3.2.1–5

Not Tyler but I'd like take a shot at this question. Photochemcial prints are dye-based and therefore the colours are subtractive (Cyan, Magenta, Yellow, Black). Digital projection is light based RGB and therefore an additive colour space. This is also the reason that people often complain of "muddy blacks" in digital projection. The dyed, subtractive version of black is considered rich and desirable in general. This also means that once a celluloid-shot film goes through DI, the subtractive colours are brought into an additive colour space. Of course, the current colour grading tools are very capable of simulating the rich blacks of a photochemical print but eagle-eyed experts can still tell the difference.

Can't say for sure. One has to dig into the American Cinematographer Magazine archives to find the specific work flows for these films. I'd reckon the CGI sequences were filmed out onto whatever N or IN they were using back then and then spliced into the OCN (original camera negative)? Perhaps they even used optically printed mattes?

Meliboeus You, Tityrus, lying under cover of this beech, play your cosy music on your shepherd’s pipe. But me? My house is closed now. I must leave my fields, I must leave my homeland. You, Tityrus, sit cool in the shade, and the woods return your pretty sounds. Tityrus O Meliboeus, a god granted me this peace. And forevermore he shall stay a god to me; and I shall often offer him lambs from my fold. All this is his, everything you see. My cattle roam where they like; on my pipe I play what I like. Meliboeus What you do is fine by me. It’s everything else— the unrest universal in the countryside. Look! I’m driving my goats, but I am sick inside; and this one, Tityrus, can barely lead. Just now, in those hazel-trees, she dropped twins in the bare dust,— the hope of the flock! I have had a bad feeling for ages, stirred by thunder in the skies;—also from the frightening sound of the raven’s cry in the trees. What god did you say? Tityrus, do tell. Tityrus The city they call Rome, Meliboeus! Virgil, Ecologue 1, 1–19. * John Lyly, Galatea, 1.1.1–5. Tityrus. The sun doth beat upon the plain fields; wherefore let us sit down, Galatea, under this fair oak, by whose broad leaves being defended from the warm beams we may enjoy the fresh air, which softly breathes from Humber floods. [ They sit down under a tree ]

seems it drops complete frames but l would suspect it is the camera and not the recorder. kind of like shutter/framerate mismatch but probably something else. how it looks like when you inspect the jitter frame by frame, is there a repeating pattern and how it behaves when counted the frames?

I actually like Atomos products a lot. Have some Rode microphones too but the Rodes have had the same issue than with some Blackmagic products, the quality control can be a bit hit and miss at times and sometimes need to send stuff back for repairs or replacement (like the NTG3 which started to buzz and pop in cold temperatures despite it being specifically made to withstand humidity and cold better than a normal mic. switched to my backup NTG2 which had no problems at all whatsoever. sent the NTG3 for inspection after the shoot but they could not find anything wrong with it. weird stuff all in all )

Here's what the juddering looks like... It's 4K so lots of detail. I was thinking that much panning detail might overwhelm either the camera or Ninja's processor. But I found some footage showing mostly sky and it had the same problem.

I have not used that combo but often HDMI RAW has most issues with the hdmi cable not being reliable on the very high data rates (frequencies and bandwidth) on the highest settings. it is a bit hit and miss with the cables, the expensive ones may be better but not always. I tend to blame the cable if some settigs can't be reached and the ssd does not drop frames. sometimes the ssd drives can be the issue too but you can spot it easily because the not-fast-enough ones will fill the buffer and start to drop frames. with the normal NinjaV the Angelbird drives have been best for me with raw as they are designed to support fast continuous bitstreams instead of the normal computer drives which are good for data bursts but suffer on continuous data stream like video recording, you can see this on computer use too and not just on video recorders. but don't know which ones you use on the V+ and they are probably fine if you can't see the Ninja indicating frame drops.

Thanks again. I see why you say that. I spent last hour stressing over your finding. The camera allows the 4K120 RAW setting and the Ninja V+ records, but with juddering. Then after almost canceling my Atomos support request, I finally found my source. Please look at this Atomos video...

Trying to get this look shooting wide and close ups of 8 people in a studio. I have 2* Aputure 120d and 2* Nova p600c available with 2* 8x8 and 4by frames. I still have the option to modify equipment but it’s a small budget. They’re all going to be seated and facing the camera like the 3 girls in the middle.

I have recently done some Digital to 16mm recordings on NC500 for people who wanted a dirtier grainier look than 7219. Pretty happy with it for that, kind of recorded it as if it were 250iso In my own tests I shot it outdoors golden hour in a Bolex at f5.6-f8 24fps and felt more light really helped it.

it is planned to work on 12V. the magazine motor could be run with a separate converter which lowers the 12v battery voltage to 8v, that is easy to do so users can likely make that kind of cable by themselves if needed. Some users would likely use the motor with v-lock batteries which should work fine if a similar style down converter is used to lower the 14.4v to 12v

Oooh yes, I agree. Tiny, subtle bit of gate weave is good in my opinion. Gives an unconscious feeling of freedom to the image. I'm not kidding. If film doesn't move just a bit, a tiny bit, in the gate, in my opinion something doesn't look quite right. It's like vibrato in violin playing in my opinion ... none at all and it sounds tight.

Based on what you said, do colors have better saturation, contrast when it’s photochemically finished ? If their isn’t much of a difference why didn’t Nolan didn’t Nolan Do a DI for interstellar in your opinion and all prints would have come from the negative ? Sorry for asking so many questions, you are very knowledgeable on this and I would like to keep learning.

According to a quick search of the specs, it doesn't say the camera can create higher than 59.94 FPS on the HDMI output. I assume it can only do high speed in camera when set to HD mode, per the manual.

Which FYI does not look like any of the other tests shot on NC500. So that's why I'm a bit dubious. When suddenly something looks too good to be true, generally there is something we don't know. Until we know more answers, I'm skeptical based on my own results and working with the stock myself.

This actually sounds great! what voltage do you plan for the motor to work on? The Tobin ones were 12V but I find that problematic when using the 400ft mags that run on 8V.

I always said Australians have a robust and innovative streak in them. They tend to see things in a unique and fresh way and come up with innovations. But that doesn't extend to field testing cameras by dragging them behind 4WDs haha (they don't call them SUVs in the bush)