Phil Soheili

yes, but what winding is it? the label on the item picture is out of focus. i suppose deliberately. could on of the 17 buyers share his experience? thanks, cheers phil

Good day, may I ask why you prefer a 16ST over an SRII or SR III? (These cameras come away in perfect shape on eBay these days for an apple and a penny..) Just very curious. Cheers

I learned one thing, too: Read all the comments before you post reply. when I first commented, I had read only one or two (angry) comments and actually had no idea where the whole debate had been coming from. This homework must be long closed by now, have we seen any result?

i don't know that special camera but if it is like the braun nizos you have you your zoom from the higher value (e.g. "50") you turn the zoom ring towards the lower value (e.g. "6") and then either you continue this movement of the zoom to enter into macro mode, or you have to lift (or press down - that is towards the camera) the zoom ring and turning it back towards the higher values you shold be in the macro range. but the orange ring that continues down from the lower values suggests me that macro is just further down the same direction. maybe it's not the entire ring that you need to press but only a button or a lever. i have downloaded the instrucion manual and strangely enough it says nothing about the macro function of the lens. secondly while in the normal zoom range (here 6-50) you focus with the dedicated focus ring, on the macro range you focus with the macro ring (the zoom ring). check it out: point it to an object at a few inches distance and then try focussing with the zoom ring (while you are in the macro range of the zoom scale). watch out,if here was a lever or a button to press you will have to redo it once you get back into the normal range. i guess it sounds complicated, but that's not because it really is complicated, but because english is not my mother's language.. hope i was able to help, cheers

If you have them at hand why won't you measure it? I did exactly that and "my" 12-120 has a 72mm ø... ;)

When flying just recently I was told to switch off my camera as we were approaching Milan. They say ANY electronic devices (not only cell phones) must be shut off. Try to "keep it to yourself" while you're shooting. If you travel with others maybe they can watch for the hostesses.. Good luck! Buon Natale a Napoli!

Well, if you measured it and the result was between 42 and 43mm - which translates to 1.6535 and 1.6929 and the exact middle of that being 1.6732 - I think you may easily leave it to chance whether you'll find a 1.66 or a 1.67 filter first. I cannot really imagine that in the "Elgeet times" there could have been reliable filter thread measures other than these (that is with two digits behind the 'comma'). Cheers, Phil

I would probably use low reflection lenses in his glasses and "frost" the lenses from the face side (not using 'chromed' lenses). Especially if you feel comfortable with VFX, this might be already an 'advanced position' to start from. This way the lenses will always be white or at least 'bright' instead of reflecting and mirroring all kinds of useless things (as the studio roof or the camera or the operator..) and you will only have to add the flares and stars. Anyway, let us know how you went about it and how it came out! Good luck!

You could have your talents glasses modified so they actually shine an LED's light powered by a flat cell through a diffusion behind the lenses. And the cell could be in the talents hair behind his ears or elsewhere. The rig could be slightly uncomfortable to wear, but ... Phil

I'm not really sure if my approach could be working because I have little to no experience with green screen, but if you had those lenses replaced/covered green, you will probably avoid a lot of fuddling with huge fills that need to be white in a less than 100% reflection but still shed no light to the face underneath. (Otherwise you would be limited to always have the same light/direction/intensity). Would be curious to know what others say to the green aproach... Saluti, Phil

REALLY looking forward to "Skyfall"?? Are you kidding? I'm sending you this message from my tent in front of our biggest cinema in town... ;)

Basically the rules of dogma are: 1. Original locations only, "as is" (no props etc.) 2. There can be music in the movie if the source is visible (radio/band live) 3. Handheld only (no tripods, no dollies, no cranes) 4. Filming in colour, no artificial lighting (that includes daylight sources) 5. No cgi, no sfx, no filters 6. Film may depict neither violence with arms or weapons nor murder 7. Film plays out in the "here and now" (No "once upon a time", no "in a future long gone", nor "back home years ago", no day for night, if it's filmed in the Chrysler building, NYC it cannot be anything else than the Chysler building, NYC) 8. No genre (no "noir", no comedy, no horror, no action) Let me put it "nothing that labels easily" 9. Must be filmed in Academy 35mm 10. The director may not be credited neither in the start nor the end titles. So the ones that affect cinematography are 3, 4, 5 and 9. You might say it bans everything that is "wannabe" in favour of telling relevant stories in a straightforward way and in a real world where real things happen. (if it's raining then - hell yeah - it's raining!) That means that you can have any colour you may want (and desaturated is not a hallmark of dogma rather than a consequence of the specific conditions on the "set" the day of the filming. Have fun! Phil

Hi Clem, it's a Beaulieu R16 with (as much certainty as this picture allows for) an Angénieux 1:1,2 17-68mm. Cheers, Phil

Hi Sean, I have 2 factory sealed 122m(400ft) rolls of 16mm Fuji Eterna, one of which is EI 250 and the other EI 500. Both tungsten, both kept fresh (! - that is: not refrigerated) Labelling is 1R-7.605 (1R-2994) 116-129 8673 Eterna 500 183 and the other one 1R-7.605 (1R-2994) 819-111 8653 Eterna 250 343 I got those last year together with a camera, so I don't know how old they are but the batch number could tell you. Interested? Make an offer? What are they worth? btw: I'm in Italy Cheers, Phil

Hi Josh, I have always been using a "SONY Wide Conversion Lens X0.7" on my Nizo 561 (has a 7-56mm 1:1.8 Variogon hard mounted) with the help of a 49-52mm step-up adapter ring. It makes a fine 5mm lens. You could probably get a similar camera and even the converter and adapter on eBay for just half of your 2-300$ budget... Cheers, Phil

LA VIE DE BOHÈME France/Italy/Sweden/Finnland 1992 Script and director: AKI KAURISKÄKI, DoPh: TIMO SALMINEN FORMAT: 16:9 ANAMORPH · B/W · LENGTH: 98 MIN ;) Cheers, Phil

I don't really think there is a major brand producing these. I got mine on eBay for 10 Euros (from a dutch seller), it's metal, mounts my Nikkor lenses to a Canon and that's it... Gruß aus München (Greetings from Munich) ;) Phil

We're going to Short Film Corner (Cannes Festival) with our recently finished film "Disturbia". I would appreciate any suggestions, hints, advice, experiences, dos'n'donts. (I'm a first timer!) Thanks everybody in advance!

Yes, at the bottom of mine.. Sorry, just had to.. But seriously, I have mine in the freezer (-15 Celsius)

Salut Bernard, I think this can be done all BUT in colour grading: You set your D-lighting and your N-lighting and then either crossfade your lights from day to night or - if N is darker than D - have them "on" both and just fade-out D. In either way you can then still use ct to tweak your results if it needed so, but in this approach at least you can be sure, your lights match to the other days and nights because they are actually your other days and night. Hope this is of help to you, have fun, Phil

Hey Aubrey, the best advice I ever got and keep getting is: "get your camera and shoot!" Only your doing so, will tell what you can and cannot achieve. As you can see from this thread, filmmaking is a religion and that means very few is actually "true" in an "absolute" way. Wich again means that "nothing's written" (thank you El Awrence) and you are writing your own bible. Go ahead and do it. Not all posts rise so much dust, but I have seen that quite often and never understood why one did and others didn't. Don't take it personally, just acknowledge that most of us are getting into the business for passion and most of us are getting beat-up on the way, and all the anger that comes steaming out is the anger that we had to swallow, because we had not had the luck to be treated right AND had no way of yelling it to the face of the people that treated us so wrong. One line in a comment says: You chose "deception" - that's great! Some sustain "all art IS deception". Another line says: you want to "cheat": Well that's exactly what movie making IS. Using HMIs for sunlight, day for night, dv for film, Liz Taylor for Cleopatra, Soundstage for Paris, Foley for real audio.. OMG, we're all cheating! As for your problems of budget, you need to either to walk someone's dog twice (once for the roll and once for processing) or talk to your teacher, but I guess you know that. Cheers folks, Phil

Hello Olex, I thought it would be great if you could name a few sources for a CZ-Hassi to PL Adapter... I have all the lenses from 30 to 500 and would want to test them on my ARRI S16. Thank you and good day everybody. Phil

@ K. Borowski: Good day! As I will have to scan my approx. 550ft of Vision3 (250) later this year and I used to think 4k was just slightly below 16mm physical resolution of the 16mm neg. Could you please explain a bit further why "... true 2K scans (4K is almost never worth it in 16mm)" Thank you, Phil

Good day everybody, I just got a Video assist "bridge" for my SR16II and wanted to replace the camera (SONY XC 75CE) with something like a 1080p / 25fps (best would be variable framerates including 25) recording to SD or CF card and a video out. Of course I prefer the budget solutions. I was looking on eBay to do a little "market research" but I find only "hero cams" (too heavy / to big / odd framerates etc.) Anybody an ideas or experiences to share? (where / what to look for. watch-outs). Is there an issue with synching the framerates of the ARRI and the VA-cam? How is it done? Know awfully few about it.. :( Appreciate any advice. Thanks. Phil