Premium Member Aapo Lettinen Posted January 31 Premium Member Posted January 31 On that regard, what I think you guys should REALLY direct your attention towards is: HOW TO MAKE OPEN SOURCE FILM PERFORATING MACHINES FOR 16MM AND 8MM FILM in good enough quality that one can use the stock in pin registered cameras like Arris. Also investigating 35mm BH perforating machines to smaller extent if you want to still shoot with the BLs and Moviecams and such in the future (unless converting all the cameras to KS). Stills film will be made much much longer than motion picture film in any case and it will always be available in one form or another. One can ask the same factory to make unperforated stock which you slit to smaller width and get perforated. IF THERE IS PERFORATING MACHINES AVAILABLE WHICH REALLY ACTUALLY WORK WELL ENOUGH. At the moment there pretty much is not. Or there is somewhere maybe one or two which someone might get an access or not sometimes or not. If having enough money or not. Or even then maybe not. This would actually be relatively simple to resolve compared to making all these cool new VistaVision and "65mm-Almost-Imax-Though-Cannot-Call-It-Imax-Due-To-Copyright-Stuff " projects people are all crazed about. It would solve a whole world of problems in an instant as one could just order whatever exotic photo stock one wants and just like "let's throw this to the SR3 to make some tests" slitting and perforating it overnight locally. Instead of hunting for a year if someone willing to let you pay money for them to maybe get them perforate it for you on the two existing machines in Europe or maybe not. A chinese machined perforating tooling with manual finishing and calibrating in Europe would work just fine. Tolerances can be worked out if there is time and enough revisions. You don't need to coat the film stock by yourself for a long time as there is always something to use easily available, but you very likely need to arrange the tooling to perforate it properly. Just start working something out. At least on film-lab level so that there would be at least something available for each country to use to perforate stock to common film formats. It does not matter if it needs to sit idle every now and then. There will be time coming soon when it is run 24/7 and another unit installed next to it. 1
Karim D. Ghantous Posted February 1 Posted February 1 I think several countries could be suitable candidates for making this stuff.
Premium Member Aristeidis Tyropolis Posted February 1 Premium Member Posted February 1 2 hours ago, Tyler Purcell said: The AHU stock issues, which are plaguing everyone right now What AHU issues? We heard a lot of hearsay about pressure plates but no concrete evidence to that effect. No footage, no reports, no articles, nothing, we can't base such a serious issue to someone saying they had "some" problem. I will be buying my own stock as part of my testing anyway and will make sure to post footage right away if I see anything specific to AHU. As for finances, Kodak is in one of its best financial positions ever and is positioned to grow based on Q3 2025 reports. 2
Karim D. Ghantous Posted February 1 Posted February 1 2 minutes ago, Aristeidis Tyropolis said: As for finances, Kodak is in one of its best financial positions ever and is positioned to grow based on Q3 2025 reports. 2
Jon O'Brien Posted February 1 Posted February 1 1 hour ago, Aristeidis Tyropolis said: What AHU issues? We heard a lot of hearsay about pressure plates but no concrete evidence to that effect. No footage, no reports, no articles, nothing, we can't base such a serious issue to someone saying they had "some" problem. I will be buying my own stock as part of my testing anyway and will make sure to post footage right away if I see anything specific to AHU. I second that. I'm making a short film this year, I assume with AHU stock. Project is in S16, on a modified SR. Will report back if any probs. 1
Premium Member Tyler Purcell Posted February 1 Premium Member Posted February 1 (edited) 1 hour ago, Aristeidis Tyropolis said: What AHU issues? We heard a lot of hearsay about pressure plates but no concrete evidence to that effect. No footage, no reports, no articles, nothing, we can't base such a serious issue to someone saying they had "some" problem. Oh it's been widely discussed between owners/users on multiple Facebook groups and of course with myself. I have been working on solutions now for months and have a good cadence with cameras coming in and getting fixed for the issue. The AHU stock has a very different friction coefficient, it's very susceptible to back side scratching in a way I have never seen before with remjet film. You can actually feel it when you touch the two side by side. I started getting cameras in last summer with odd scratching issues. Upon initial inspection, I saw no issues. The fresh/new remjet stock I have been using to test cameras showed zero scratching. So I contacted the client and found out that they were using the new stock. I had already tested 100ft in my own camera and was working on the halation issues, I had not thought about even inspecting the film closer for scratching. So I checked over the scan closer and sure enough, there was a faint blue line even on my own footage. I went to Kodak, bought a 400ft roll and started testing the clients mags, they all scratched. You can't have ANY scratching within the image area and unlike remjet film, the scratches are light blue. I was able to remedy the issue by polishing the throat light trap area, that cleaned it up quickly. However the moment I finished that, I got an SR3, then an SR2, then a bunch of LTR's. From September through December, it's been non-stop cameras coming in for scratching with AHU. It's been a lot quieter now, I only have 5 mags currently that are in for scratching and I'm almost done with them. But it's absolutely a big problem because I have to buy brand new film to test with and none of my saved remjet film has any validity anymore, it's just trash for testing cameras because the AHU is such an issue. Now on 16mm, the halation problems aren't too bad. My tests were inconclusive, probably because the pressure plate on the XTR Prod's only have two rails that touch the film and they're very fine lines. On the 35mm cameras and SR's, it's been a bigger problem. I'm going to buy some more AHU stock and run some tests, but we are slammed with work, so it's very challenging to take time off and go deal with it all. I still have around 20 can's of remjet film for my own shoots, so whenever we go out, we're just using that. 1 hour ago, Aristeidis Tyropolis said: I will be buying my own stock as part of my testing anyway and will make sure to post footage right away if I see anything specific to AHU. Look for very faint blue lines. 1 hour ago, Aristeidis Tyropolis said: As for finances, Kodak is in one of its best financial positions ever and is positioned to grow based on Q3 2025 reports. Umm... https://www.spglobal.com/ratings/en/regulatory/article/-/view/type/HTML/id/3458033 Edited February 1 by Tyler Purcell
Premium Member Aristeidis Tyropolis Posted February 1 Premium Member Posted February 1 (edited) 43 minutes ago, Tyler Purcell said: Umm... https://www.spglobal.com/ratings/en/regulatory/article/-/view/type/HTML/id/3458033 Ummm...You didn't read the whole thing: "Kodak’s growing AM&C group bodes well for its prospects, but the segment's revenues don't yet fully offset the continued erosion in the print segment. The AM&C segment also has stronger profitability, with an operational EBITDA margin " It's their print business that has issues, film is growing fine. Please share some screenshots of the issues, plus footage, If the issue is prevalent I am sure that Kodak has been alerted. Edited February 1 by Aristeidis Tyropolis
Premium Member Tyler Purcell Posted February 1 Premium Member Posted February 1 1 hour ago, Aristeidis Tyropolis said: Ummm...You didn't read the whole thing: Here are the key quotes, I have underlined passages which are concerning. "The company’s $477 million term loan, $50 million cash collateralized letters of credit facility, and $99 million 4% series B preferred shares are due in May 2026. In December 2025, we expect management will use $300 million of KRIP proceeds to reduce debt to the minimum under its credit agreement, leaving about $175 million in term loans outstanding. It expects to monetize the remaining $200 million of illiquid assets after the debt maturity date, but the timing is unclear. Given that Kodak is unlikely to address its maturities before May 2026 with internal liquidity, we believe this introduces uncertainty around the company’s near-term financial flexibility and raises some questions about its long-term capital structure. Kodak has about $155 million in unrestricted cash (about $85 million held outside the U.S.) and the potential to tap other sources, like its $100 million equity sale agreement or current restricted cash balances. It could also convert its series B preferred shares, though we view this as unlikely. Using all available cash to address maturities will materially weaken Kodak’s liquidity position. We believe Kodak's prospects partly rest on it successfully scaling up its pharmaceutical operations and navigating regulatory approvals. It has made targeted investments in pharmaceutical manufacturing, including the registration of its cGMP facility with the U.S. Food and Drug Administration that may support new product opportunities. These developments suggest a potential shift toward higher-margin product categories that could diversify revenue and improve profitability over the longer term. Kodak’s emphasis on domestic manufacturing and its alignment with potential trade protections could enhance its competitive positioning in U.S. markets. Nonetheless, execution risk remains elevated, particularly in scaling pharmaceutical operations and navigating regulations. While 2025 will likely be characterized by stabilizing revenue and continued margin pressure, Kodak’s strategic pivot toward specialty chemicals and pharmaceutical manufacturing could improve operating performance in 2026. The negative outlook is based on Kodak's growth challenges and weak FOCF generation, which we believe could heighten refinancing risk related to its May 2026 debt maturities. Although KRIP proceeds could mitigate some of the refinancing needs, we expect negative FOCF and debt to EBITDA above 10x in 2025, as growth in advanced materials and chemicals is unlikely to offset headwinds in the print segment." So yea, none of this is good news. Where Q4 25 reports won't be out till the end of Q1 26, I doubt there has been any positive changes outside of the $300M of KRIP proceeds going to their debt. I don't understand how they can spend money developing pharmaceutical products and chemicals, when the demand is already weaning due to the economic conditions state side. The regulatory hurdles are one thing, but a massive shift to scaling up production of a division that is only 1/3rd of their business for the last few years, is not going to be cheap. Where is true they are fixing their pension mess, it maybe too little too late. Kodak has already tightened ship. They have cut the student discount in half. They have cut the distributor purchase discount in half as well. They have raised prices on all raw film stocks, with super 8 getting the largest increase (30%) and 65mm/35mm getting the least increase (8%). My concern is that they will raise prices on chemicals next, which will in tern jack up lab rates. If that happens, we will see the cost of shooting film over-all jump quite a bit and without the discount structure they have had for decades, many people will simply walk. This will in tern decline the user base, which will force them to rise prices again and the cycle will simply continue until everyone is priced out but the studios. So yea, that's my concern and I have to say, we have been very lucky to even still shoot this stuff. The team in LA has been pushing back on corporate for years and they've been winning, but this small increase shows they are hurting and the sway our team has, is weaning as well. If corporate had their way, the price per foot would be the same for stills and motion picture, they simply do not understand the market in Rochester. They think it's all roses and posies, but mark my words, this whole thing will unravel very fast if they think young people who are their primary target audience are going to have deep pockets during the impending recession. Heck, the prediction is that the United States will be in a full recession by the end of Q1, so who is going to be buying anything at that point? My fear is that by May when Kodak needs to pay that debt off, they will have a really bad first quarter and they will struggle to make their financial obligations. If you go back to 2011, the only thing that saved them was an investment from the studios, but in the end, they themselves are in big trouble today. Warner is 38B in debt, paramount is 19B in debt, Universal has consolidated their debt at 86.3B, making it the highest holder of debt in all of the studio system. Disney has 48B of debt. Sony pictures is the only one who has been able to reduce their debt, with a debt load of under 10B dollars and decreasing. So to think that suddenly they're going to buy out Kodak or pre-pay for film at this time, is laughable. Back in 2011 during the first major consolidation of Kodak, the train simply derailed. Today, the tracks are being ripped up and eventually, they'll rip up the ones leading to the factory and that'll be the end of that. I hate to be the negative nanny (no pun intended) as my business basically exists due to Kodak, but I have horrible feelings about all of this. There are so many tall tells from the unsuccessful reformulation of Vision 3, to not releasing the nearly 3 year ago promised Portra 400 motion picture film, to the raise of prices and the debt issues. I hate the feeling of being the engineer telling everyone on board the unsinkable ship that it's actually sinking and everyone else is chilling in the ballroom having a blast. Nobody is talking about any of this and it's scary man, it should be on everyone's radar. 1
Premium Member Aapo Lettinen Posted February 1 Premium Member Posted February 1 Kodak's choice of "testing the AHU stock in production" is not very convincing for a business model which is entirely based on tight quality control and expectable results which can be trusted every time. I mean to me the uncertainty with AHU results actually causes me seeking for lower cost options for film stock. If I may get good results OR may get bad results and it can randomly vary from day to day, then I feel safer just shooting lower cost stock which I know is lower quality but I can at least know what to expect and can use the saved money to shoot more footage to make up the quality difference or improve set design etc with it to get more interesting result. For example the Foma base is lower quality and there is noticeable difference in stability because of the perforation quality being lower. But the price difference to Kodak b/w stock is just huge, the kodak is about double price or more. I like orwo un54 look the most but it is impossible to get anymore so rather shoot tons of lower quality Foma than waste money on AHU stock unless it is some specific ahu test like I need to do on Aminima 100ft magazine. Damn than Wolfen ruining un54 stock production, it was wonderful stuff with great look, good perforation quality, great quality control, cost 120 euros for 400ft when doublex was 200 for same lenght with worse look
Brian Drysdale Posted February 1 Posted February 1 It might be worth contacting Ilford regarding making a motion picture version of their black and white stocks: https://www.ilfordphoto.com/black-white-film 1
Brandon Paterno Posted February 1 Posted February 1 16 hours ago, Aapo Lettinen said: On that regard, what I think you guys should REALLY direct your attention towards is: HOW TO MAKE OPEN SOURCE FILM PERFORATING MACHINES FOR 16MM AND 8MM FILM in good enough quality that one can use the stock in pin registered cameras like Arris. Also investigating 35mm BH perforating machines to smaller extent if you want to still shoot with the BLs and Moviecams and such in the future (unless converting all the cameras to KS). this is something that could probably get some funding/investment from the arts i’m sure. i would think that any perforator would kind of have to be consistent enough to work with a pin registered system, no? there have been some really interesting optical sound recorders for 16mm made for expanded cinema performances with funding from govt institutions, but to be fair that wouldn’t require the same material cost behind it.
Premium Member Simon Wyss Posted February 1 Premium Member Posted February 1 3 hours ago, Brian Drysdale said: It might be worth contacting Ilford regarding making a motion picture version of their black and white stocks Good luck with that endeavour, the last Ilford MP stock was sold in 2003 from Italy. The last Ilford reversal film was discontinued by or after WWII. However, I am certain that they could, if they wanted to.
Mark Dunn Posted February 1 Posted February 1 (edited) 37 minutes ago, Simon Wyss said: WWII. A bit later- till about 1970. https://www.photomemorabilia.co.uk/Ilford/Chronology.html But as you say, it was always suspected that the colour films were made by Ferrania. Later on Ilford badged Sakura colour neg as Cilcolor. Then Konica as Ilfochrome and Ilfocolor. Then Agfa. I use an Ilford core on the Steenbeck. That one never goes out on rental. Edited February 1 by Mark Dunn
Premium Member Tyler Purcell Posted February 1 Premium Member Posted February 1 10 hours ago, Aapo Lettinen said: Kodak's choice of "testing the AHU stock in production" is not very convincing for a business model which is entirely based on tight quality control and expectable results which can be trusted every time. Oh they tested it, but on 35mm cameras, which have a lot more chromed surfaces throughout the camera and magazine. Where I don't think I'd ever want to put AHU through a 2C, the Arricam's and Moviecam's are very gentile on film, so they probably work fine. I wonder if they shot One Battle on AHU, because those 2C style magazines are horrible on film. 10 hours ago, Aapo Lettinen said: I mean to me the uncertainty with AHU results actually causes me seeking for lower cost options for film stock. If I may get good results OR may get bad results and it can randomly vary from day to day, then I feel safer just shooting lower cost stock which I know is lower quality but I can at least know what to expect and can use the saved money to shoot more footage to make up the quality difference or improve set design etc with it to get more interesting result. I mean the film is consistent, way more consistent than what anyone else can coat. The problems are really just the friction coatings and the halation/pressure plate issues. I think the latter is less of an issue. Kodak's coating consistency is the key to the success of the stock. 10 hours ago, Aapo Lettinen said: For example the Foma base is lower quality and there is noticeable difference in stability because of the perforation quality being lower. But the price difference to Kodak b/w stock is just huge, the kodak is about double price or more. I like orwo un54 look the most but it is impossible to get anymore so rather shoot tons of lower quality Foma than waste money on AHU stock unless it is some specific ahu test like I need to do on Aminima 100ft magazine. Pricing will go up for everyone because of the silver price skyrocketing. I have a feeling these other brands will simply price themselves out of existence on the motion picture side. Kodak can absorb the shifting costs slightly, but the smaller brands can't.
Premium Member Aristeidis Tyropolis Posted February 1 Premium Member Posted February 1 16 hours ago, Tyler Purcell said: I hate to be the negative nanny (no pun intended) as my business basically exists due to Kodak, but I have horrible feelings about all of this. There are so many tall tells from the unsuccessful reformulation of Vision 3, to not releasing the nearly 3 year ago promised Portra 400 motion picture film, to the raise of prices and the debt issues. I hate the feeling of being the engineer telling everyone on board the unsinkable ship that it's actually sinking and everyone else is chilling in the ballroom having a blast. Nobody is talking about any of this and it's scary man, it should be on everyone's radar Bit of hyperbole and Cassandraism? Silver is down these days should we expect lower prices now? It's something you did mention a few moons ago. I doubt things work this simple, let's let the year end, I for one will stand to be corrected but we can keep Titanic violinists and Bart Simpson references aside. I will definitely be testing European alternatives as well, I hope there's momentum everywhere.
Jon O'Brien Posted February 1 Posted February 1 Ah, I remember now .... the hand-wringing of some filmmakers at the ups and downs of the silver price years ago, long before the digital revolution. These concerns are nothing new. Despite the worries, great films were made year in and year out. 2
Robin Phillips Posted February 1 Posted February 1 1 hour ago, Aristeidis Tyropolis said: Bit of hyperbole and Cassandraism? Silver is down these days should we expect lower prices now? It's something you did mention a few moons ago. I doubt things work this simple, let's let the year end, I for one will stand to be corrected but we can keep Titanic violinists and Bart Simpson references aside. I will definitely be testing European alternatives as well, I hope there's momentum everywhere. silver was way up until the 25% crash a few days ago (even with the crash its up 160%ish in the last 12 months). if it cools off that'll be one thing, but if it starts swinging around kodak will have to bake a higher price into the stocks just to have some kind of stability with their pricing. 1
Premium Member Tyler Purcell Posted February 2 Premium Member Posted February 2 2 hours ago, Aristeidis Tyropolis said: Bit of hyperbole and Cassandraism? I literally posted facts and evidence based on reality. You can feel free to bring evidence to the contrary, but if you want to be informed about what's happening on the ground, I suggest you read and not burn the message. 2 hours ago, Aristeidis Tyropolis said: Silver is down these days should we expect lower prices now? It's something you did mention a few moons ago. Silver and gold are being used as ways for banks to hedge their bets against the US dollar but still continue doing business. Don't think of it as precious metals, think of it as quantitive easing, but without the US dollar being involved. The Trump admin wants to move the entire banking system into his personal crypto currency. This has been his game plan for years now, with the name USD1 as a clue. With two more pieces of legislation that needs to be passed before it can go into effect, the entire mission is to destroy the US economy to the point where the admin can simply "give away" payments that can be used to buy goods and services through their crypto system. Due to the desperation of the people in the Untied States by that time, everyone will want that action and if those two pieces of legislation pass congress, you can count the US dollar as fiat currency, not even worth the BTU's it puts off. This is all being done purposely and there is really no stopping it, the momentum is palpable state side. The full on collapse is expected by the end of Q1 and with Bitcoin taking a MASSIVE hit in the last few days due to the Epstein files, everyone is expecting the stock market to tank by some big numbers in the coming days. The AI bubble burst which will probably happen by the end of Q1 as well, should tank the value of the US dollar another 5-10% in the coming months. So this trend is going to continue and experts believe once silver stays above $100/ounce for any serious amount of time, that it will never come back down again based on US dollars that is. We don't know how much this new USD1 crypto will be valued against the silver market, but it doesn't matter because unless companies are already heavily leveraged in it, they will be screwed anyway. What we are witnessing is an extinction level event, perpetrated by the billionaire class over the last 40 years and we are rapidly approaching check mate. You can ignore this all ya want, but there is not a single indicator of strength in the US economy, none. Everything is in the negative, even with the very limited data the government is releasing. So to think that Kodak or for that matter, anyone who makes anything in the United States will "lower" prices again, is flabbergastingly disconnected from any reality. The fact Kodak hadn't raised prices on ECN2 stocks for a while was a testament to the team here in Hollywood and the fact it was only up by 8% for most stocks, is truly another win for us. Even if silver goes back down again, the prices will continue to raise simply due to running costs increasing. 2 hours ago, Aristeidis Tyropolis said: I doubt things work this simple, let's let the year end, I for one will stand to be corrected but we can keep Titanic violinists and Bart Simpson references aside. You should study what I mentioned above, it's all in plain text on thousands of media industry and business/market sites. 2 hours ago, Aristeidis Tyropolis said: I will definitely be testing European alternatives as well, I hope there's momentum everywhere. Again, nobody can coat the amount of ECN2 style negative required for the film industry outside of Kodak. This is the only reason why Black and White films, haven't been shot on Illford or color films on OWRO/Wolfsen stock. If alternatives truly existed, where is the little indy feature who has used the stuff? Go ahead and try to request 70 - 100K feet of 35mm from either company. They'll laugh in your face. I honestly think ORWO makes around 50k feet a year for various formats, they have unbelievably low quantities. People complain about perforations and such, but all of that can be fixed with frame edge stabilization. If you were really desprate and you had no choice but to shoot another stock, you would, wouldn't you? Seems like the answer today is an infateic no. Will that change? Well, the US market is #1 for film currently, so if the value of the US dollar against the Euro continues to slip, then the cost of European stocks will obviously skyrocket. Forget about the tariffs which have prevented anything in real quantities from being sold here. Na, there is nothing to discuss with European film as of yet, it's like buying a child's painting for the price of a professional, it simply makes no sense. ORWO has been making film for a while now, you'd think by now they would have realized they need an orange first layer. They finally did that with NC200, but are they releasing it in any actual quantities? No, they absolutely are not. So how does anyone actually make a real product out of a few daylight spools? They don't.... the whole thing is some sort of sick joke and it's frustrating to even entertain.
Premium Member Tyler Purcell Posted February 2 Premium Member Posted February 2 1 hour ago, Jon O'Brien said: Ah, I remember now .... the hand-wringing of some filmmakers at the ups and downs of the silver price years ago, long before the digital revolution. These concerns are nothing new. Despite the worries, great films were made year in and year out. Umm, silver hit $44/ounce back then for a brief moment. Kodak did raise their prices to compensate. Silver has been roughly $25 - $35 for the last decade. It's up over 1500% and it will continue to rise as people look to get out of US dollars and are too scared to put it into stocks, bonds or crypto. If history teaches us anything, this is an extinction event underway.
Premium Member Aapo Lettinen Posted February 2 Premium Member Posted February 2 Yes the scam artist in the White House causes severe economic issues which can really ruin the US economy and part of the other World Economy as well. It can be something as small as him reading some tweet which pisses him off and he will release abdolute shitstorm with unexpected results. I already started preparing to change my trading very quickly to Euros and GBP when needed unless absolutely have to use USD for some reason. My USA sales were about 80% of total sales before Trump precidency but now they are constantly falling being about 50% at the time and expecting only something like 35% in May. Almost all new customers are from Europe and UK. If usd loses its value then it may only be possible to sell bare circuit boards to the US and one needs to 3d print the motor body by oneself. I am actually preparing for this with 3d printable 4speed universal motor. If I were living in the US, I would honestly spend spare cash on survival gear and pickup trucks and canned food and guns at the moment. If using it on film cameras, then only combat camera stuff which can be used to shoot artistic b/w civil war footage for historians to preserve🫡 1
Karim D. Ghantous Posted February 2 Posted February 2 Does anyone know how much silver is in each roll of film, in terms of dollars? Like, how much silver is in a 400' roll, and how much is that worth in raw value? I don't know the chemistry very well.
Premium Member Tyler Purcell Posted February 2 Premium Member Posted February 2 9 minutes ago, Karim D. Ghantous said: Does anyone know how much silver is in each roll of film, in terms of dollars? Like, how much silver is in a 400' roll, and how much is that worth in raw value? I don't know the chemistry very well. It's around 18 grams per 400ft roll of 35mm after processing. I'm not sure how much is in it BEFORE processing.
Geffen Avraham Posted February 2 Posted February 2 (edited) On 1/30/2026 at 8:14 PM, Tyler Purcell said: No, they sold them and I believe Fuji is using the line. There are around 20 VistaVision cameras in the United States. Many are in private hands, but a few rental houses have them as well. The need for a quiet VistaVision camera is out there, if ya can build that, there is 100% a market. However with that said, the amount of trust you need to have for people to rent it, is insane. That's the problem so many camera guys have faced and why you don't see "other" cameras on the market. The first one I build won’t be quiet, it will be the lightest and smallest vista ever made the old Mitchell butterflies were about 17lbs with 400ft mag, but they were non reflex and the reflex conversion added another 5-10 lbs I am targeting under 15lbs with 400ft mag and reflex. There will be no viewfinder or ground glass. A pellicle will split 1/10th of the light to a BHG1 or similar full frame digital camera. An OLED SDI EVF will be used. Edited February 2 by Geffen Avraham
Premium Member Tyler Purcell Posted February 2 Premium Member Posted February 2 (edited) 14 minutes ago, Geffen Avraham said: The first one I build won’t be quiet, it will be the lightest and smallest vista ever made The beaumont camera is very small, it's actually smaller than a Moviecam Compact. It's also 40lb with 400ft load, lens, Mattebox and follow focus, which is pretty good. 14 minutes ago, Geffen Avraham said: the old Mitchell butterflies were about 17lbs with 400ft mag, but they were non reflex and the reflex conversion added another 5-10 lbs Yea the Mitchell cameras are huge and heavy, nobody actually uses them. 14 minutes ago, Geffen Avraham said: I am targeting under 15lbs with 400ft mag. Without a spinning mirror reflex system, I wouldn't doubt that is possible. However, I don't know if weight is the most important metric. As we've talked about, a better all-electronic 1000ft magazine system that actually gets up to speed fast enough and is gentler on film, along with something quiet, would be the 2 things camera crews today are dying for. Currently the most widely used VistaVision system the Beaumont Mini, isn't trusted with 1000ft loads due mostly to the poor magazine system. There is also only one sync sound W-11 ever made and it's HUGE, size of an IMAX camera. 14 minutes ago, Geffen Avraham said: There will be no viewfinder or ground glass. A pellicle will split 1/10th of the light to a BHG1 or similar full frame digital camera. An OLED SDI EVF will be used. Yea, this is a good idea, I'm interested to see if the industry accepts this. It's talked about a lot, but I have a feeling there will be some rejection. Edited February 2 by Tyler Purcell
Geffen Avraham Posted February 2 Posted February 2 (edited) I really want to make it work with a 1000ft Arricam mag, which has built-in motors. For that, I need to analyze the pinout of the Arrimag connection. If anyone here has access to an Arricam, I would be very happy to learn more. Edited February 2 by Geffen Avraham
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