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Sean McHenry

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About Sean McHenry

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  • Birthday 10/10/1960

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    Hilliard, Ohio
  • Specialties
    Arriflex 16 S/B, Krasnogorsk K-3, Bolex Rex, Super 8, Canon 814 XL-S, 512-XL, various regular 8 cameras, Sony DSR-PDX10, film, video, shooting and editing - All things David Lynch.

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  1. Will, drop me a line on where this place is if you get a few moments. If they have 16S cams collecting dust to just look pretty, I want to talk to them. ;) mchenryproj(at)yahoo.com will get you to me eventually. I'm not on the lists here as much as I used to be. Bought a 16S/B not long ago and I could use a good source for parts. Thanks, Sean
  2. If you are more into experimentation and are doing this for the practice or for other experience, you can skip all the professional answers above but, you will not have professional results. I have had interesting results using a 1930s projector and an HD capable 24fps camera but, my projector is totally variable in speed and it allows me to match the shutter and frame speed of the video camera I am using. I simply shoot a smaller say 1' diagonal image onto a flat white board and set the video camera by trial and error. While this will be fine for an experimenter or for one to examine his shots and editing etc, it is in no way professional. If you want to go a slightly more professional route, send your processed film to my friend in Canada Justin Lovell (see his site at frame discreet) where he will be happy to talk to you about doing a standard def one light pass of your film to a supplied MiniDV tape for about $20 (check his current rates as they may have gone up) per 100' 16mm roll. While you are never supposed to project negative film, his process can indeed do negative stocks and he has been very gentle with my little experimental bits and pieces. He can also do reversal 16mm as well as 8mm and Super8, plus he's a good guy to know. IN the states a similar low budget deal can be found without the hassles of getting film in and out of Canada from the folks at MovieStuff. Hope that gives you a lower budget alternative. I have had one short come in second in an international festival using Justin's transfers from 16mm negative Kodak 250D and several other gallery screening short experimental things shown locally, on MTV Italy and in various small festivals around the US so it does work and looks fairly clean. His site has many great examples of his process. Best of luck, Sean
  3. Hello, sorry you are in the position you are in, I know that must be hard. As for the gear, the Scoopic is a well regarded camera in the 16mm area and is still quite sought after. If it is in really good condition it will sell well on eBay or here in a more private sale. The lenses sound to me like "C" mount lenses. As for the rest, my knowledge is very limited but I saw nobody seems to have replied here publicly so I thought I would take a moment to do so. Please check both the forum comments on the Canon and the lenses as well as eBay for what these items might be fetching on the open market. I am not sure who one would check with in Chicago but there have to be some old school film places left there that would handle the Canon and let you know about it's condition as well as being able to look over the lenses for their total condition. They may make you an offer on the spot for good gear. Be sure to look at the forums and eBay before you go so you will have an idea what one might expect to get for these piece. That's about all I can offer on advice. I know I have looked at prices for the Scoopics and they vary but I too like the camera. Best of luck to you, Sean McHenry
  4. Yikes. I paid just over $600 for the whole kit listed above. I guess it's what the market bares? Still, I was thinking like $5o or so, this is 1/10 of what I paid for everything else. I think I may make one myself for my test roll but if I have to go that high I guess I will to to make the kit whole again. I still can't believe someone lost that piece. What bugs me most is that someone probably tossed the original one that came with this camera out not knowing what it was when it was rediscovered. Sad. Thanks Glenn for finding that on eBay though. I had been looking but I didn't word the search correctly I guess. I had been searching for Arri or "Arriflex parts". s.
  5. Hi all. Convert from Bolex Rex to Arri 16 S/B here. I just bought a seemingly decent S/B from an eBay deal. All seems good so far at what seems a decent price including the S/B body, a Cine60 belt, a 400' mag with Torque Motor. The belt has the built in charger and seems to be holding a charge and the camera and torque motor sound good so far. Also came with a slightly fungused (yeah, probably not a real verb) 12-240 B type. What I am looking for however is a missing part, well, two really. I am hoping someone on the lists here has these lying about... Missing: looking for the body top cover plate. It came with the 400' Mag but there was no top cover plate for when you want to run 100' daylight spools. Missing: Core adapter for the take up reel in the 400' mag. Now the core adapters I have seen on eBay (for ridiculous amounts at times) so I can likely find one there eventually but the top hatch? How can anyone loose that? I mean I can see how you could physically loose one but really, it's sort of vital in one's kit I should think. So there you have it. If anyone has these guys for a reasonable price, I'm listening. You can contact me direct for faster response here if you like: McHenryProj@yahoo.com Thanks all. The sick lens is going to be attempted to repair by any one of the shops I have contacted and the camera and mag will likely go in for a tuneup as well. Looking forward to using the critter. PS, before you scoff too loudly at the 12-240, have you seen this? http://www.cinema5d.com/news/?p=6342 Sean
  6. Can anyone tell me what stock was likely used in the compilation film of "Aria"? I am looking to find out what stock was used in the Sturridge piece, the second segment of the film. I am wondering if it was a XX22 version, probably 35mm? DP was Gale Tattersall. Sean
  7. Curtis, your best bet is to look up Moviestuff and take a look at Rogers sample frames, or for examples of various formats done with this gear, look up Justin's site at frame discrete and the blog has lots of samples of his transfers. I like to keep this part secret but hey, we're all family here - unless Justin and Roger have raised their rates, I have been sending Justin DVCam tapes to tr4ansfer to and he has been transferring 100' rolls for only $20 per roll. Same for Super 8 and regular 8mm. Roger prices the same way as I recall. Now mind you that is for Standard Def transfers to my tape stock. Prices subject to change, etc., etc. Rogers site is : http://www.moviestuff.tv/ Justin's site at Frame Discrete : http://www.justinlovell.com/ More of Justin's samples at : http://www.framediscreet.blogspot.com/ Justin is a heck of a nice guy and we have talked about a lot of things over the short time I have known him. His Super 8 transfers are amazing. Keep in mind hes a very active working shooter and in demand so if he can't get back to you right away, give him some time. He's been known to shoot in Europe at times and it takes him a while to get back in touch occasionally. Tell him I said hello and ask him about those fantastic Tshirts with the cameras on them. : ) Sean
  8. By the way, as a (highly compressed for the web) glimpse of this system Justin uses, you can check out this little short I shot for the NIN online contest thing. Preface: I shot this on my old Bolex H16 non-reflex using really old, storage conditions unknown Vision 250D stock I picked up for testing. I desaturated it in Avid. There is a little of the natural uncorrected color in the outside shot at the end. The shots in color of the little girl were desaturated in post with a little Gaussian blur as well. Still, even in this you can see it came out pretty well. This was a direct conversion from negative film Justin did for me. http://www.youtube.com/watch?v=_PFt6144kHI You can see more of this process in another short and come to think of it, the open shot is in full natural color in this one - Chemical: http://sites.google.com/site/deepblueeditf...e/film-projects Other stuff on that site done in varying formats and various transfer methods including projection onto a sheet of paper and captured with a Panasonic DVX100 in 24p mode. Don't want to drag this off topic. The idea here is just to show you what can be done with a very similar idea using a projector as the gate mechanism. Sean.
  9. Hasn't most of this system been somewhat worked out by the folks at Moviestuff? Using an LED source in a projector hooked to a computer that does frame by frame advance. Uses a magnifying lens to basically blow up the image of the open projector gate (Aeriel image) and capturing with a good quality (all the way up to a Red One if you want) video camera not as video but as sequential full frame grabs in RGB space. Software that plays back the sequential files at any frame rate to any tape device. Just the other day I had a short conversation with Justin Lovell of Frame Discrete and Roger of Moviestuff, the maker of the systems. Justin uses several of these in different formats, and who I have had several transfers done from Super 8, 8mm and 16mm color negative stock at Justin's place. Spoke briefly in emails with Roger about using a digital still camera with the system due to it's high pixel count. Seems to me a digital still camera already has many more pixels than HD so good stuff. The explanation I got was that there is still a limitation on the number of frames a DSLR can take as there is still the issue of the mechanical shutter. Yes, you can lock up the mirror but you still have a physical shutter. To get around that, you would need a digital camera without a physical shutter, an electronic shutter is needed, which leads right back to video cameras. Anyway, I always applaud ingenuity but you might want to see what all they have worked out and backward engineer to use a camera as the gate for your version. I believe there is a version out there I saw on retro thing that uses a Moviestuff system with a Red One as the pickup device. In fact, here's the link to that device. Blow up Super8 to 4k anyone? http://www.retrothing.com/2008/03/our-resident-re.html Even better link: http://onsuper8.blogspot.com/2008/03/red-o...mm-at-last.html Sean
  10. Never mind. Just saw Justin in the credit on your footage. Love his work. Ask him about the T-shirts. : ) Sean
  11. Check in with Justin Lovell. He has several "sniper" units and can do frame by frame TC of 16mm negatives. I have used him for some time with my 8mm and 16mm stuff. He has mentioned the possibility of doing these as HD. The method uses is that the camera actually provides an RGB still image that is stored sequentially on a computer which are essentially a full frame non-interlaced scan of each frame. The computer has a program that plays the still images out in sequence at whatever speed you want to tape formats. He may be building an HD based system or know of one up there in Canada. He's at Frame Discrete. Tell him hello and I say hello. I also used scans of my 16mm negatives on my cheaper HP scanner using a 35mm neg carrier scanner. Does a decent jopb to let me know if I have at least a decent image to bother sending it up to Justin or not. Good luck. Downloading your film now. Stills looked excellent. Sean
  12. I am shooting something with my trusty old Bolex Rex in a month that might benefit from something wide enough to have a distorted view but not as wide as say a typical 180 degree type fish eye lens. I will be shooting some rather paranoid close ups of a woman's face and don't want to distort her too badly but to give it a distinct look. Any suggestions for cheap (the cheaper the better - it's a one time project) ideas for other effect lenses are welcome. I am well familiar with Guy Maddin's Vaseline on the clear filter style and love it so that is not out of the question. Other cheap tricks you folks may know of for distinct looks would be most welcome. Lenses available right now are the Rex 10mm, 25mm 75mm and the Ang 12-120 zoom. I do have some WA small video adapters that might adapt as accy lenses and will be taking a look at them tonight. Trying to avoid Avid tricks in editing if I can so I don't exaggerate the grain there. Thanks all, Sean
  13. Cool stuff. Where the heck did the rod mounting plate come from? Mine just attaches to the lens barrel. I have been looking for a setup like this for a while for either the Cinetactics or the Lindhal. In fact, I proposed something adjustable but similar to a flat "L" shaped plate that would attach under a camera, have up/down adjustments in the front and a welded on 77mm or similar ring that you could use as a floating attachemtn for the Lindhal or other such lens mountable boxes. Easy to make but I have no machining tools here to do it. I am betting for us Bolex, K-3, and other users such a amount would sell a few, if not overpriced. I once asked someone to come up with a Cokin square lens shade with a simple hot shoe mount or some other mounted french flag on it. Also simple but no takers yet. S.
  14. ...and, when used up it actually says "exposed" in the window where the film is seen in front of the cart. Best of luck. Sean
  15. There are quite a few of those little things, like, when we are very sick we go to THE hospital, a noun. When they get very ill over the water the go TO hospital, as if it were almost a verb I suppose. As the French say vive la difference? (Or something close to that) By the way, double plus sorry to hear of the passing recently of Mr. McGoohan. Wonderful bit of work you folks did there on the Prisoner series. OK, everyone back OT. I also rent (not hire out) my Canon 814XL-s but you might have to be in the US to make it worth while. Sorry folks. Sean :blink:
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