Jay Taylor

Hey guys, Thanks for the help! I'll check out those books as soon as I can! By the way, what would be considered a small number of prints? Jay

Hey Chris, Yeah, Ken went over all that with me. It hasn't really been needed, though, since I don't have a motor to run it with anyways! Jay

Hey guys, I'm assuming there's no problems with this camera since it came straight from Ken Stone. When I talked to him initially he tested it out with a bunch of different motors up to 120fps, and he said there wasn't any flicker or anything of that nature. Anyways, my asking price has come down to $3500, and the price is negotiable. Shipping is included if you're in the states. If there's anyone you know of that might be looking for one of these, have them take a look. I'd like to sell this quickly! Jay

Hey everyone, I'm trying to understand how you make movies without computers! I know, it sounds funny, but help me out here! Okay, so once you've shot your film, you send the film off to the lab for processing. Then you get a workprint. You edit that. You need your audio materials transferred to? what? With 16mm it's magnetic? And with 35mm it's optical? Then you get the negative cut, the soundtrack created, et cetera, and then you talk with the color timer/grader and get an answer print. Now this is where I'm a little bit confused. Once you're happy with the answer print, how do you get a release print? It sounds like if you're needing thousands of prints, you'd get an IP made? And make your prints from that? What if you only need two or three prints? Can you print directly from the answer print? Or do you need some other print before making the official prints? I really should buy a book about all this! Jay

Hello again, Alright, I took a few more pictures outside to help everyone see some of the camera in better detail! Better? Let me know if you'd like to see anything else in daylight! Jay

Hey John, Okay, maybe I'll just take some more pictures outside! It's a nice sunny day out! Jay

Hey John, Why thank you! What can I say? Terrible lighting, and a crappy digital camera. Jay

Hey, Here's the rest? I received a question on whether or not this camera shoots sync sound. It does not! It's very loud when it runs! It can shoot sync with the right motor, but it's still MOS. This camera would be perfect for non-sync shoots! Music videos, commercials, high-speed, time-lapse, animation, etc! New reduced price! $3500! Even so, the price is still negotiable! Also, shipping is included if you're in the states! Jay P.S. Sorry the photos turned out so dark! You can still see everything though!

Hey again, I think I'll go ahead and put the photos I took of the camera on here. No need to PM me that way! More to follow? Jay

Hey everyone, Well, I bought this camera off ebay from Ken Stone less than a year ago, and it's just been sitting here ever since! Took me this long to realize I can't afford to shoot 35mm! 1 x Fries Mitchell 35R (pellicle beamsplitter version) w/ Nikon mount 1 x 400' magazine 1 x Cohu CCD camera (black & white, for the video tap) 1 x Colorado Video Integration System (helps brighten up the video tap) Everything's in great condition! Looks brand new! I should mention that this does NOT come with a motor of any sort. In fact, it doesn't come with the motor side cover either. Won't matter once a motor is on there! Lots of motors available that will work with this camera. Ground glass is interchangeable, lens mounts are interchangeable. It has a video tap built in, so you can set that up with either the Cohu camera that I'm including, or there's a few others Ken Stone has you could stick on there, too. I have no idea what kind of demand there is for these types of cameras, so my asking price is $4000. Price IS negotiable! If you're in the states shipping will be included. If you'd like to see some pictures of everything just let me know and I'll take some for you! Hoping to sell this quick! Jay

Hey, Which Mitchell am I thinking of, with the mirror AND the focal plane shutter? Is that the s35? Jay

Hey, With two, the first one was a mirror shutter for the reflex viewfinder. Then behind that shutter was a focal plane shutter. I think? This way you had a nice, bright viewfinder, AND you never had to worry about any light leaks. These cameras are great for live action, as well as time-lapse and stop-motion. Hope that helps! Jay

Hey guys, I worked at a Blockbuster for a little over a year, here in Nashville. Oh, the horror stories I could tell! Good riddance! I hope they go under! I hated having to call people and ask if they ever returned two movies that we never received. And then telling them I'll have to charge $300 to their credit if they can't return it. And lets not forget the security tape of our boss in the back office with some woman who wasn't his wife! And when the tape was presented to the district manager, he told us to grow up! True stories! And many more? Netflix works for me! Jay

Hey guys, I've noticed the silence, too. Honestly, the reason I haven't been posting in here anymore is because I'm not that thrilled with what I've seen from the Red. It came out and the first posted videos were terrible, at least to my eye. Then they got a little better, then a little better, and then a little better. Some of the more recent stuff is really nice, but it just has this certain look to it that I don't care for at all. So I just gave up on this camera. Also, I bought myself a Fries Mitchell, so? :lol: I think I'll be more interested after their first chip upgrade, and once they can handle 4k 120+ fps to an improved, less compressed, redcode raw. We'll see! Jay P.S. One thing I've noticed is that anytime there's some supposedly jaw dropping footage shot with the Red, the people involved aren't allowed to post it, and they always say, "Trust us!" It gets really old after a while. Just something I've noticed!

Hey Stephen, Thanks for your help! Maybe I'll rent some super baltars, and see if I like them or not. Jay

Hey Stephen, Yes, I got the one for $3500! Any issues with any of the Nikons? Do they all clear the beam splitter alright? I read your other post about the beam splitter shattering! Other then that, how do you feel about the super baltars? I've looked through the forums, and what I've read is that they're very low contrast, soft compared to modern glass, and tend to flare. Haven't really seen very many examples though, besides the Godfather! Any idea how much a set would go for? Jay

Hey Patrick, Thanks for the help! It all makes a lot more sense to me now! Might have to hunt down one of these 15mm's you're talking about. Now if Stephen and Paul could chime in with any issues they've come across with using the Nikons? Jay

Hey Patrick, OK, let me see if I understand this. An 18mm Nikon, Canon, Zeiss, Cooke, etc., will all give me the same FOV on my Fries. But an 18mm on a still camera will give me a wider FOV. Is that correct? As far as some of the wider Nikons hitting the beamsplitter, I was under the impression there weren't any problems with this? According to the Fries website the only Nikons that won't work are the older fisheye lenses that required mirror lockup. Is this not the case? Jay

Hey Patrick, I understand that an 18mm is an 18mm regardless of your format. However, since the Nikon's are made for still lenses, which uses twice the negative, wouldn't it end up cropped with motion picture film? That would mean I'm not getting the full 18mm field of view, or am I misunderstanding? Jay

Hey guys, So I just bought a Fries 35R (pellicle) from Ken Stone. Now I'm looking for some lenses. The Fries I have has a Nikon mount, so I could use those, but I'm concerned by the lack of wide angle choices. If I use an 18mm Nikon, it crops, correct? So what I end up with on film is actually more like a 27mm? Right? Is there any kind of modification you can have done to the lenses to correct this? I'm starting to look at other possible choices, but I realize I'm limited by the fact that it's the pellicle Fries. I could get a BNCR mount, and use some super baltars. What do you guys think of these lenses? I've heard they're very low contrast. I think I know what that means, but does anyone care to expand on that? Anyone have some stills from shots done with super baltars? What are the specs on these? Most are T2.3, but what is the close focus? I realize The Godfather was shot with super baltars, but what else? I think I've heard that you can use PL mount lenses, but it's a very limited choice. Does anyone know which lenses can work? Would the older Zeiss, or maybe the Cooke Speed Panchro lenses work any better? It seems strange to me that the Nikon mount and still lenses are such a popular option, given the limited wide angle options. Jay P.S. You guys might be wondering why I went with the pellicle Fries. It's because I'm doing a lot of animation, so the mirror shutter version wouldn't really work for me!

Hey guys, How many of you have ever used one of these Jackson Woodburn DMS-120S motors? Specifically, with a Fries Mitchell 35R? The beamsplitter version? I've been talking with Ken Stone recently about getting a motor for a Fries 35R that I just purchased from him. I plan on doing mostly stop-motion animation, but also live action, high speed, etc. So the Jackson Woodburn looks great, but the problem is that Ken says it won't work. I've been emailing the JW guys about the problem, and it's becoming more and more confusing! Here's the deal? Ken says that these motors were designed more specifically for the S35 Mark II's, which is right! The gentlemen from JW says that they were originally designed for the Mark II, as well as the original R35 Mitchell (different from the Fries, obviously). Ken says that in order to mount the motor correctly he has to remove the flywheel from the Mitchell (over my head!) JW claim that they did in fact have to remove the flywheel to make the motor work with the Fries (converted GC's), and use an adapter plate to adjust the positioning. Ken is using the adapter, btw. JW goes on to say that they would then replace the flywheel with a toothed cog, and a belt connected that cog with the one on the adapter plate. I haven't specifically mentioned this to Ken yet. Ken says the problem is that without the flywheel, you get flicker at anything above 60fps. SO! Anyone have experience with a Jackson Woodburn with a Fries 35R, or possibly some general knowledge of this stuff that could help explain why this isn't working? Perhaps someone knows a way to make it work? If I can't get the JW I'll end up having to get two separate motors. Which is fine, but it ends up costing quite a bit more. I appreciate any help you guys can give me! This is obviously a BIG purchase decision! Jay P.S. If this isn't the right forum to be posting in, go ahead and move it wherever it's most appropriate!

Perfect explanation! Thanks a bunch, Mr. Mullen! Jay

Hey guys, real quick question! If the ground glass is "Accd centering with TV/185 markings" what does that mean exactly? I'm assuming "Accd" means academy centered? As opposed to full frame? And then "TV/185" seems obvious enough, but I'm curious if there's a difference between tv and 1.33 ground glass? Thanks for your help! Jay

It's funny you talk about grain, because that music video has quite a bit of "noise." The compression probably emphasized it, but still. I keep reading comments where someone says it doesn't look like any video they've ever seen. I'll admit the Red is much higher resolution, but that's the only difference I can see. I keep waiting to be blown away, and proven wrong, but I just keep ending up disappointed! It's really rather? disappointing! :P Oh well, I think I'll retire from this thread! Jay

Very interesting! I'm amazed at how much you guys know about all this! I remember reading something David Mullen suggested. If you had a chip that had a couple more stops of dynamic range then film, you could apply some sort of (don't remember what he called it) envelope? to round off the edges, similar to the way film behaves. It would be interesting to see the results. Jay