Nate Yolles

I have a Sekonic 608c that I'm selling. It's in excellent condition. I'll throw in the upgraded pouch and several batteries. It's an excellent light meter. If you're interested in saving a few hundred dollars by purchasing used, contact me off the forum through email: film@nateyolles.com.

I'm a film guy through and through and I absolutely love this camera. The CM3 is so versatile and has such a rich history, and this camera in particular is such a clean specimen. However, I simply don't need it anymore and would like to recoup some of my expenditures.

Nikon 28mm - 2.8 Nikon 35mm - 2.4 Nikon 50mm - 1.4 Nikon 85mm - 1.8 Nikon 105mm - 2.5 They're all Nikon brand still lenses and they're all sharp. However they're not cine lenses and they aren't a major consideration in the price of the package. I feel that a much more important aspect of the package is the PL mount that I had installed. Thank you,

Personally owned, never left my sight. Pictures at: http://www.blackfirefilms.com/camera/ Eclair Cameflex CM3 35mm/16mm Camera Body Crystal-Sync Tobin Cinema Motor brand new ground glass - 1.85, 1.33 Academy, and TV safe Arri PL, Arri B, and Nikon Mounts 2 35mm Magazines 1 35mm Mask battery with charger Spare fuses All cables 3 lens mount covers, 2 mag covers, 1 cover plate for camera Flight Case The Camera is in excellent condition; very clean. Excellent registration at all frame rates. It has been maintained by Eclair specialists, The Optical-Electro House in Culver City, California. Tobin Milliframe Controller TMC - RCU unit - new Crystal Sync frame rates from 4fps to 40fps Frame rate controllable to the thousandths (ie. 23.976 or 29.970) Phase button for shooting televisions and monitors Lenses Nikon 28mm Nikon 35mm Nikon 50mm Nikon 85mm Nikon 105mm Lowepro Bag - new Support Wooden Tripod Baby Wooden Tripod High Hat 2 Spreaders O'Connor Fluid Head Model 100 Slideing Plate Two Handles for head Plastic Cases for both tripods Rubber Feet for both tripods (not shown) Tripods are in excellent condition. There isn't any slippage. They've spent most of their life in a studio. Other items for sale: Large Harrison changing tent Complete AC kit Sekonic 608C lightmeter - excellent condition, Reyes toolbet pouch Mark IV Director's Viewfinder - Perfect glass, case has marks Gaffer's Glass Tiffen Contrast Viewing Filters: High Speed Film, Low Speed Film, Black and White Pelican case 1550 Polaroid 600se with Mamiya 127mm lens Price: negotiable. email: film@nateyolles.com

They can and they will. However, I'd like some outside professional opinions.

I've been speaking with Laser Pacific about their InDI program (the 4:4:4 HD DI) and they're telling me the quality is just below a 2K, noticable only to the trained eye. Does anyone have any experience with this process. What is the quality difference between the InDI and a 2K?

Actually your light meter is not calibrated to 18% grey. http://www.bythom.com/graycards.htm

Rob, you are correct, my pictured prism was reversed. I've updated my "diagram," however, I fail to see how the light bounces twice in each prism, I'd appreciate an explanation of how that works. In experimentation, it seems that I need to get the viewfinder closer to the mirror, however, it's adjusted as far as it can go in that direction already.

The idea is to put a miniDV camera on my Cameflex CM3 in order to get a video tap and onboard monitor. The current method that I'm pursuing is replacing a prism with a two-way mirror in order to split the light. It seems to be working so far except for one thing, focus. If I focus on an object, then pull the prism and insert the two-way mirror, I can't seem to get the picture back in focus. I adjust the mirror in, out, check both sides and it's still soft. Just to clarify, it's affecting the focus to the viewfinder, not to the film plane. Does anyone have any ideas? I hope you enjoy my picture at the least.

While avoiding a Nikon v. Canon debate, I'd simply like to say that I love my Canon 20D.

http://www.davideubank.com/

celoscreen

Are you a writter who is currently working on a short film intitled Hook Man? Or are you a writer who is currently working on a short film entitled "Hook Man"? A writer who knows the difference between "its" and "it's." If you're the latter of the two, $100 is not a lot of money to invest in your career.

I tell you what if I was taping a camera because I knew it had a light leak I wouldn't use that camera.

I'm not sure how many mags just fly open without the help of a person loading incorrectly. However, when you have half of a dozen mags running back and forth from set to loader, it's an extremely visible clue that there is film inside the mag, either exposed or unexposed. It's about easy communication and preventing someone from exposing a roll by accident. With a quick glance the loader knows which mags are loaded. Likewise, with a quick glance the 2nd on set knows which mags are loaded. To take it a step futher, on shows using different films stocks for either aesthetic reasons or budgetary (ie: dear Media Distributers, give us whatever you can at cheap rates), you establish a color coding system within the camera department. So the second AC can quickly look in the mag cases, see red tape and know that he has 5218 ready to go, but the DP wants 5229 so he needs to look for blue tape, etc...

In my circle we call it a dolly-zoom, which has transformed into a "zolly." Not too long ago I was working as a best boy on an HD music video where they insisted on doing a dolly-zoom against a green screen. <<bang head against keyboard now>>

I enjoy www.phototakers.com

I'd be interested in looking at anything related to a Cameflex CM3 16/35mm camera by Eclair.

We left the lamp unplugged, turned the switch to "on", submerged the light, then plugged it into a lunch box with the breakers off at both the lunch box and back to the distro box. then turned the light on by throwing the breakers. So the light went on only after it was submerged and it was turned off and and allowed to sit for a while before being pulled out of the water. Personally, rather than actually submerging a light, I would point a stronger unit into the pool. I might submerge some silver roscoflex to bounce the light throughout the pool.

Well, I've seen it done. I was just a humble juicer on this show and the gaffer told us to throw a molepar in the pool. At first we just looked at him stunned and we did question him. He made it known that it was going to happen. So I rigged up the light and threw it in the pool. The other juicers weren't happy about the order either. I told him I wasn't going to plug it in, that he could do the honors and that I didn't want to be around when it happened. If I were the best boy, I would have put my foot down. Everything worked fine. Regardless, I would never do that myself or ask someone else to do it. :(

I too have found that ND does have magenta in it.

I have an O'Connor 100 fluid head. On the side is a metal tag that says "springs set for ___ in lbs." I assume that means that you can go inside adjust the tension for lighter or heavier cameras. Is that something that can be done yourself? Where can I take it to have the springs set for my camera. The 100 is an older head. I have included a picture to refresh anyone's memory that needs it. The picture below is a little different from mine, mine has a sliding quick release built into it.

This is exactly what you are describing http://store.yahoo.com/cinemasupplies/ililcaslakac.html

It's not the sellers that bother me on ebay though. It's the other idiots that you are bidding against. The people who drive up the prices so high that it's no longer a deal. When it gets to the point where the ebay price is just underthe price of buying it brand new, you no longer have a deal for yourself. Furthermore, it's not uncommon to see auctions prices higher than the MSRP of the product brand new. I see that a lot and it really makes you wonder about people and their so called "street smarts". It's like the white vans driving around where you can get $5000 home speakers for only $100 bucks, you pay cash and get no receipt from a company located in Las Vegas - and people actually think they're getting a good deal. ;)