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M Joel W

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Everything posted by M Joel W

  1. I built something similar like this: https://www.nyfa.edu/student-resources/soft-lighting-how-to-build-a-covered-wagon/ I think on Sopranos they use large banks of 60w or 100w light bulbs in the studios there, but not something as simple to build.
  2. I feel like the saturated/magenta look has got to be a choice to subvert the original's green/low con look. Which is, ironically, how everything looks these days thanks to the ALEVIII sensor. ? But I'm not into it either.
  3. Thanks. I gave it a look and it seems kind of stuck so I'm going to leave it alone for now and look to modify the follow focus gear instead.
  4. Schneider Cine-Xenon 28mm f2.0 lens
  5. It's blocking a follow focus gear.
  6. I was thinking FL had similar coatings. One strange thing I notice with my 58mm is has a washed out flare that seems like haze, but there's sort of an oval cut out of it, like a reverse flare: https://www.dropbox.com/s/w99q86zcq46epqx/P1041249-1 (0-00-02-13)_2.jpg?dl=0 https://www.dropbox.com/s/6i0ksdyj0s9d02h/P1041249-1 (0-00-04-00)_2.jpg?dl=0 https://www.dropbox.com/s/ruf0g1no0870smx/P1041249-1 (0-00-02-13).jpg?dl=0 Is this just haze or internal reflections? The 58mm also seems to have an actinide element since there is an orange tint, so it is not a "cool" lens at all imo. To me the 135mm f2.5 feels like a "cool" image but it flares much less and has a purple/blue flare. I found these good but more suited to large format since f3.5 is not so fast?
  7. Like could I take a 24mm f2.0 Nikkor and move the rear group back and make an 18mm f2.0 Nikkor?
  8. I believe some of the early 50mm Lomos are Cooke copies and the 37-140mm zoom an Angenieux copy, etc. but slightly different. . But the 22mm OKC-3-22-1 for instance was so far as I know a unique focal length at that speed. So while I figure it's based on something, what is it based on? This is a good faith question I'm just kind of curious about. What does it take for a 21mm f2.0 Olympus lens to become a 17mm f2.0 Movicam lens? Or what did the PVintage line start out as? Is it a matter of adding in bespoke additional elements? Is this why Aspherons/Panspherons are so much sharper (in my experience at least) than generic wide angle adapters? Or are they just better?
  9. In my experience, yes. But it's been a while since I worked on a Netflix show. I believe Panavision can modify T-series anamorphic lenses for use on full frame cameras, too. It shouldn't be that soft. 2880X1620 is around 4.7 megapixels and a center crop of 2880X2160 would be around 4.1 I think.
  10. Hi, my Alexa has a part like this that I use with a VCT-14 style plate: https://www.abelcine.com/buy/camera-support-movement/cages-baseplates/arri-wa-1-wedge-adapter I want to get soothing similar for my Aaton S16 camera. What do you recommend? Thanks.
  11. Also curious about hard light quality and punch at a distance. Looking at buying a 600D or old Joker 800. Would love for the 600D to look as good.
  12. Hi, I'm looking for some junk film and a 400 ft core to practice loading my Aaton mags. In the Boston area. Can pick up or pay for shipping and pay a small fee for film or mags, whatever you think is fair. I only have daylight spools. Or in a pinch maybe I will take the core from one of my two mags and try threading my student films on to it lol. But would really like to buy 50 feet and a 400 ft core from someone!
  13. I think they're quite similar optically to Super Baltars but with different coatings. Not sure anything has the same coatings and the same feel optically. To me the distinct look of Kowas is the blue/yellow axial CA (same with Super Baltars) and yellow flares and cool tint (which might be unique to Kowas). I think Super Baltars have a very similar look with bokeh. But also not cheap. I remember the 9.8mm f1.8 Tegea has a similar look to the bokeh. Some older Nikon lenses too? (The 35mm f1.4 I think.) But the coatings and tint might be different. Both Zeiss Super Speeds and K35s have axial color fringing too but in a different way and different flares and tint. I find the Cooke lenses from this era relatively free from CA and they have very very different coatings. Blue rather than amber I think. I think the Lomos and Kinoptik are closer to Cooke. So that's sort of the opposite vintage look. Warmer image, cooler flare. No CA. The Zeiss Mk1 and Schneider Cine-Xenon lenses from the 50s I think have an amber coating and neutral bokeh with less CA. They're pretty affordable too. So I would say Super Baltars have the closest look, but maybe you wouldn't get the same flare or color. So maybe that's not it. Super Speeds are a little harsher imo but maybe not a world apart. Honestly I think the look here is much more to do with the stock it was shot on. But I dunno. At the high end I would look into Super Baltars as an alternative and maybe grade a bit cool. Or on the lower end contemporaneous Japanese still lenses, maybe Takumars or something seem to have similar coatings. Not sure if any other cine lenses with amber coatings but I'm not the most knowledgeable about this. Edit: from what I recall the Voitglander Zoomar has this look at least to the bokeh but it's too messy for my taste. I actually don't know too much about this but am curious what others come up with.
  14. Hi I’m looking for one of these semi-permanent adapters with an Aaton rear mount cap. Thanks! I have the other kind that you can switch out but I was hoping to adapt all my lenses to hard mounts. Not a high priority but figured I’d give it a look. Just need one more.
  15. Thanks. Any tips for extending the longevity of the capacitors? Humidity controlled cabinet? And what $40 changing bag did you buy? Doesn't a 50 foot roll mess with the footage counter? I'm just getting into film again and it was between this and a Bolex. For a larger project I would more likely rent an XTR Prod or 416.
  16. Thanks! Where can I find a re-winder? On eBay I figure? I'm just getting back into shooting film.
  17. Looking to get an expired roll to practice loading film. Thanks! Located in east coast USA, would rather buy domestically to save on shipping.
  18. I have an Aaton LTR-X I wanted to start shooting with. I haven’t loaded 16mm film since shooting on a Bolex many years ago or used a tent since I shot large format. I was wondering how to get practice loading 400ft film. Is there anywhere to buy 400ft dummy rolls? Anywhere that offers short ends? Also was looking at changing tents. Deciding between Harrison Pup tent and the $50 Adorama pop up tent, which is much cheaper. The big difference I notice is both hands go in front for the Pup tent and with the Adorama tent they go in at either side. Is the Pup tent worth it? If so I'll buy one. Thanks. Lastly, how can I determine if a battery has enough charge to run at 24fps? Thanks. I want to re-cell my batteries eventually, but I believe two of them are okay. Also, is it easy to re-cell batteries?
  19. I get .087 stops too but rounded up to .1. As I mentioned, I just rated at 800 ISO. Maybe it was something to do with fudging the over/under. Or just where something landed? I believe the camera has 800 ISO as an option, too, but 850 is considered native. Anyway, it's a nice camera!
  20. If I'm not mistaken 850 ISO is almost exactly 1/10th of a stop faster than 800 ISO. 857 ISO? But I just rated my camera at 800 ISO. ? So if you want to do things right my guess would be to correct by 1/10th of a stop. But in my experience the camera doesn't love underexposure and most photo lenses are slower than their stated f-stop so I just set my meter to 800 ISO and went with it. ? Edit: I don't really believe in ETTR but I do believe in slightly overexposing some cameras. I dunno, I don't shoot much anymore. I think you can find online where different cameras put middle gray and different log profiles place it quite differently. I really like the Canon Log image from the C100 a lot but do find the codec a bit thin in the shadows sometimes.
  21. Shot at 850 and metered at 800. The 850 ISO setting always seemed a little "off" to me. With the internal codec, shadows sometimes got blocky, and it was safer to overexpose than underexpose. And that is such a trivial difference anyway. I suspect most people using these cameras are overexposing more often than not. There's a whole school of thought (ETTR) that encourages it, but I don't buy into that. On the other hand, I used to rate the F5 around 800 ISO or 1250 ISO instead of 2000 ISO too.
  22. When I had a C100 I just rated it at 800 ISO. I was mostly using still lenses then though so I figured the t-stop f-stop difference was darkening the image more than the extra 50 ISO was brightening it. I notice when people shoot by eye on the C300 etc. they tend to overexpose (or maybe not I dunno) so I think overexposing a bit is fine.
  23. I think I was wrong about the aperture. It seems to be missing the rear module: http://www.company7.com/library/nikon/Nikon_0300f2.html Is that replaceable? The lens is in beautiful condition otherwise. Glass is super clean. @Dom Jaeger I've heard Panavision converted these. Did they use the original aperture or add a new one? I think Century Optics did too but I doubt they do anymore.
  24. I had a lens serviced at Duclos. Quoted $750 to clean oil in the aperture blades on a lens. But they seem to do really great work, and I suppose on the high end it's worth it. Du All also seems to do really good work and charges less ($90hr or so I think) but it drives me a little nuts that servicing cine lenses is so much more expensive than still lenses. But they seem to do good work. Another reason I kind of wish I'd stuck with Nikkors and my t2i lol.
  25. Thanks – any way to determine if it's one thing or the other? Also is it normal for the AB mount to be a little loose?
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