LangISback

Hi there! I want to film a time lapse of the day reflected on the eye of the actress so I tought of instead of having the actress standing 24 hours to catch the sunset and everything in her eye, I'll film the time lapse first and then project it with a video projector and reflect THAT projection on the actress eye... but suddenly I am concerned with flicker problems... is it possible to do that withount flicker?? is it better to do it with a plasma or LCD screen?, I am filming the movie at 18fps... can I use the same f.r. for this??... Thanks very much!! LangIsBack

Congrats for your new lens!, Ibelive the T3* is a great choice for the bucks. I bought one from ebay some months ago, it was really abused with scratchs everywere, but the results were amazingly sharp and pleasing to the eye. I really love the quality and zoom range. A bit slow, but you can always have some primes arround for those special low light situations. regards and best wishes, Lang :rolleyes:

What do you need the camera for?, animation, sports, wildlife, fiction, documenaries... etc... that'll help you take your decission regarding camera model and dealer. Check out visualproducts.com, cameraspro.com for refferecne. regards!

Hi there, I agree the Kras is a very good camera and it will be even better with the Tobin motor and a S16 conversion, though it will go way over $500. I would sugest you take a look at the Beaulieu R16. I had one as my first 16mm camera and it was great!, reflex viewing, motorized, 2-64fps, 1 frame mode, c-mount, 100ft internal, 200ft magazines, some have internal exposure meter, etc. Tough you need a well taken care one, it's not a very rough camera so you need one in good condition. It'll may go a bit over your budget, but It may worth it. The bigest drwabacks for this camera are: no posible S16 conversion, no crystal sync available. It will be good if you could tell us what exactly do you need the camera for so we can advice you on how to spend your $500 the best way. Regards! :rolleyes:

Hi everyone!, I am planning to convert my ACL to Super 16 so I am checking zoom options, Do you know if the Angenieux 16-44mm, 1:1.1 will cover the super 16 frame?, and what are your thoughts about this lens. I've read it's one of the nicest from Angenieux. Is it comparable to a Carl Zeiss 10-100 T*? Thanks a lot and best wishes, Lang

Go check www.tobincinemasystems.com They make motors for bolex cameras and they have a section on their website called "identify your Bolex camera˝ that will help you sort out what is your specific Bolex model (there are so many with several different features). have fun!

Thanks a lot for your posts!, I will use the Zeiss then! (I kninda supposed the Zeiss is better but I am no expert and I've never used one before, so I wanted some confident opinions from you guys). :) But now a different question: There are some focus changing shots and I've read somewhere that the Zeiss is a heavy breather, So i was thinking of using a 50mm nikon for still 35mm cameras. Do you think images from both lenses will intercut well? I have an option on using a 50mm old Arri Shneider too. Do you think it would be better? thanks again for your posts!!

Hi there, I'll make a music video in a couple of weeks and I have a choice of either using an Angenieux 12-120 or a Zeiss 10-100 T3. I'd like to know if any of you know how this two lenses compares. Are the image quality really much better for the zeiss 10-100 T3?, how do they match? thanks very much! :ph34r:

I've just found a great Eclair ACL with a Tobin motor that runs just great!, the problem, as always, is the lens. It's equiped with the 12-120 Angenieux that no one likes. I know that with the c-mount I can mount some descent switar primes, but I'd like also to have the choice of a zoom lens. Do you know if one of those switar zooms would be a good choice for this camera?, I've seen they have a bulky chunk of metal in the lower part of the mount, so I don't know if it is even possible to mount them. thanks a lot and best wishes!! Lang

I just bought a 16mm Ampro projector, very old but seem to work just fine, the mechanism runs smooth and the lamp is very bright. I ran on it a negative I made to test my 16mm camera, which has the rank prep white leader. The problem was this: The white leader ran just fine (about 20 secs), it is single perf. But, when the double perf. negative entered the sprockets, the projector mechanism started to make a loud noise and the negative came out with big damage on the sprocket holes. At some point the negative even broke. I want to know if the problem is with my projector or if I can't play negatives on 16mm projectors or if there is some issue with the a-wind b-wind thing. Any help would be much apreciated. regards!

I belive some of them, the older models, don't accept the 200ft magazines, but most of the R16's do have the little door on the top. If you want a mag, just check out on ebay for them, they are not so difficult to find. have fun!

Sorry for being a bit supicous about the CP, but I wanted to take an informed decission. :) Thanks a lot for your posts!!,

Hi there, I have the chance of using a very nice CP/16R for a short film intented to be blowed-up to 35mm later. I've read that because the CP 's don't have registration pin the image is not THAT steady. I want to know if some of you have experience in blowups from material shot with the CP to 35mm, or if this is a good camera for such purpose. thanks a lot!!! regards

Hi there, do you know if it's possible to change the adaptor in the 7.5-75mm or 10-100mm zooms for the Kinor to Arri Standard mount?. I'd love to use one of this in my Arri S. Thanks a lot!

Have you seen El Mariachi?, this movie was done enirely with an Arri 16s (louder than a blender). Take a look a t it, it never goes out of sync... tough... Robert Rodriguez did it this way: First, he filmed the actors with no sound, only the camera running (they, off course were acting and speaking naturally). Then a second (or third or fourth, whatever) take but only for sound, no camera rolling. After that lots of cover shots, insert shots. Later in the editing room he took the inconvenience of synchin all the movie as best he could, when there was no choice he changed the shot for an insert or a shot from the other character listening, etc. The advantage of doing it this way is that you have a more natural sound with ambience, plus you don't have to call the actors that much for dubbing. I'll do it the same way, but I would include refference sound in the camera takes, just to make it easier to sync later. hoe this helps, :)