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Nicholas Kovats

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Everything posted by Nicholas Kovats

  1. And to add to Dom' s excellent research. I found a 2000 era document that details Arri's primitive implementation of a software controller for speed ramps, i.e. Ramp Preview Controller 1.0.0 Operations Guidehttp://www.davidelkins.com/download/download_files/arri/accessories/ramp_previw_manual.PDF Arri definitely had the most comprehensive film based speed ramp systems. From Dom's ramp tutorial link, i.e. "On the 535, 535B, 435, 435ES and 16SR 3, as well as on the 16SR 1 & 2 and 35-3 type cameras, the Iris Control Unit (ICU) can be used to compensate for the exposure change. The ICU will slave to the speed of the camera and vary the lens iris opening accordingly. This is called a speed/iris ramp."
  2. Beautifully shot and exposed, David. Love the 16mm look. And thanks for updating your Y8 prototyping screenshots.
  3. That is way too many K3s out there! Classic Soviet over-production justified by central economics! Nyet!
  4. Multiple Arriflex 35mm camera models and accessories for sale. They are being sold locally here in Toronto by a reputable rental house. You are responsible for your country's specific custom protocols and shipping arrangements. The seller is old school and will honour serious inquiries on a first come first basis. The cameras were last serviced by Arri Canada in 2012. I was able to catalogue the majority of the equipment. All cameras are 4-perf transports, e.g. 1x 235 MOS w/ 3x 200 and 3x 400ft shoulder mags, 3x viewfinders, IVS analog tap. 1x 435 ES w/ 9x 400ft mags and 2x viewfinders. Includes a very rare 435 ES ICS-1 Time Lapse Capping Shutter Door System Kit. Multiple video taps. 3x 535B w/ each including 2 or 3x M-10 1000ft mags and 3 or 4x LM-1 400ft mags (time code). Two (2) viewfinders. NTSC video tap. Please send serious inquiries to arricamera35mm@gmail.com. Package details and prices are available in the tabbed Google Sheet located here, i.e. https://tinyurl.com/2bde8ead The packages have been priced with the assumption that prudent users will invest in proper CLA(s) for these precision German machines. The seller can arrange as such with Arri Canada if desired. Some pictures are available here, i.e.https://tinyurl.com/vaauvsuu
  5. Hi Matt, We have multiple Arri 35mm packages available, i.e. https://tinyurl.com/2bde8ead Some pics can be viewed here, i.e https://tinyurl.com/vaauvsuu
  6. Jordan, The conversions/re-manufacturing of the Bolex UltraPan8 also have a WYSIWYG 2.8:1 viewfinder. It simply relays/magnifies the 2.8 gate and has a native upper and lower black border composition-wise. I also have a traditional CinemaScope 2.4:1 framelines in my own ULtraPan8 Bolex. My preference is to shoot 100ft rolls of Double 8mm (5+ min) as to the more common 33/25ft rolls (1.5 min). Kodak no longer sells Double-8mm stock. Up until recently an engineer in the UK was re-manufacturing R16mm and 35mm film stock into 100ft daylight rolls but his expensive perf head is no more. I have shot V3 50D, 200T, 250D and 500T in Double 8mm including my fave which is Double-X, e.g. I have also shot Orwo UN54 b/w neg and Fomapan b/w reversal. The latter is tricky to process. Some commercial links for 100ft b/w daylight rolls of Double 8mm film stock, i.e. https://filmphotographystore.com/collections/movie-film/products/double-8-film-cine8-bw-negative-100-iso-high-speed-100-ft https://filmphotographystore.com/collections/movie-film/products/double-8-film-cine8-bw-negative-100-iso-high-speed-100-ft https://filmphotographystore.com/collections/movie-film/products/regular-8-film-cine8-f1-bw-positive-100-ft-100-iso https://filmphotographystore.com/collections/movie-film/products/double-8-film-cine8-bw-reversal-40-iso-100-ft They do have some smaller 33/25ft Double 8mm rolls of color neg/reversal film including Ektachrome 100D. I heard that Wittner in Germany may now be supplying their perforated Double 8mm film stock, i.e. https://filmphotographystore.com/collections/movie-film/products/double-8-film-cine8-color-reversal-100d-100-iso An UltraPan8 conversion of an Arri or Aaton 16mm would be prohibitive and not cost effective. They are significantly complicated precision engineered cameras. Unlike the reasonably simplicity of the Bolex. I could not find an engineer to undertake such an expensive process. My partner did bring up the potential conversion of an Eclair ACL but did not come to fruition. Cheers!
  7. The 16mm half frame format utilizing Double 8mm referenced above is known as UltraPan8 2.8 R8. The native aspect ratio is 2.8 across the exposed 16mm width of unslit Double 8mm. It can be easily cropped to the traditional Cinemascope 2.4 AR in post. Note that Double 8mm is 16mm film stock with double the perforations per foot. This fundamental fact doubles the runtime as there are 80x UltraPan8 frames per foot compared to 40x 16mm frames. A 100ft daylight spool is approximately 5+ minutes total. We have converted approximately 16x Bolex. This is an example of test 50D footage shot by filmmaker Webster Colcord with processing and scan by Cinelab at 2982 x 1215 pixels. I was just advised by Cinelab that the scan was actually down-sampled form the original 6k scan. The concept is similar to 2-perf 35mm spherical non-anamorphic Techniscope.
  8. Use 16mm split reels to create a 100ft core from a 400ft roll or standard 100ft daylight spool and load into the current 200ft ACL mag or 400ft Aaton mag.
  9. From Les's site, i.e. "16mm Cameras Aaton We offer a PL Hardfront & we Can also convert the camera to Canon with our own unique Iris Setting Unit which does not require any external devices i.e. Matchsticks,bits of plastic , etc We also offer a Super 16 Conversion on the LTR"
  10. And then there is the far cheaper ultrawide non-anamorphic solution called UltraPan8. They are re-manufactured Bolex 16mm cameras with 8mm transports. Two variations. They both utilize the full 16mm width of Regular 8mm or Double Super 8 film with an 8mm pulldown . Aspect ratios are 2.8 and 3.1 respectively. The WYSIWYG viewfinders see the full ultrawide gate. The smaller and "cropped" Cinemascope 2.4 aspect ratio can be inscribed in the viewfinder. The fairly common ultrawide Angenieux 5.9mm retrofocus lens is an excellent match for the formats. I also had a PL adapter machined for my personal UP8 2.8 R8 camera. Many examples. We have built approximately 16 to date. 1. UltraPan8 2.8 R8: unslit Regular 8mm - no anamorphics - aspect ratio = 1:2.8 (wider than Cinemascope) "Icebike" - https://vimeo.com/119718851 "mayday" - https://vimeo.com/92484795 "bikepolis" - https://vimeo.com/87991485 “my memories of her are missing - https://vimeo.com/27905787 "At Times I Meditate Nothing" - https://vimeo.com/39417454 "LOW “Just Make It Stop” - Chromoflex UltraPan8 - unofficial" - https://vimeo.com/84740721 “Limitless”. Music video. Music by Rozalind MacPhail https://vimeo.com/81306448 "I Felt Your Pulse" - https://vimeo.com/42810630 2. UltraPan8 3.1 DS8: unslit Double Super 8 - no anamorphics - aspect ratio = 1:3.1 (wider than Cinemascope) "UltraPan8 3.1 inaugural footage" - https://vimeo.com/81306448
  11. I use to have the dimmer 10x viewfinder which switched out for the higher magnification of the more rare 13x viewfinder. I also wear glasses to correct astigmatism and other attributes but rarely wear them against the viewfinder as the diopter range is sufficient with my naked eye. There may be a few craftsmen left that could fabricate a custom diopter that might also correct for astigmatism. Perhaps a friendly optometrist might be be able to help.
  12. Such sonic commercial dreck. I would rather listen and watch badly synced post dubbed German punk Super 8 circa 1983.
  13. Great work, Ben. I have shot alot of footage with my Bolex UltraPan8 2.8 R8 camera and Angenieux 5.9mm Retrofocus lens. Checkout my winter ice bike film where I pushed V3 200T 2 stops (800 ASA) in the lab. The resulting footage was not color-corrected in post regarding the rink (sodium?) lighting. I shot wide open at T2.0/2.8. I think the Angenieux 5.9mm held up. No stabilization. I was skating with my Bolex and chasing cyclists. I would like to have this footage re-scanned at higher resolution and bit depth to bring out even more detail as the original scan was a 3.5 K image sequence 8-bit jpeg.
  14. Jean-Louis Seguin may have them at bolextech@gmail.com.
  15. I am not sure about the XLR 4th pin but it may be redundant. Its been awhile since it was made for me. My pic is a simple overhead, i.e. https://bit.ly/3cwLNUO
  16. This forum will not allow me to upload the picture I took of my custom cable as it exceeds the maximum size allowed. I am not surprised this forum is dying. An engineer at work utilized the wiring diagram in the manual to put together a custom 4-pin XLR to 5-pin DIN cable. The 5-pin DIN connector came form the originally supplied Fairchild cable.
  17. It has since been disassembled but this is the Bescor 12V 4.5A NiMH battery pack I had purchased and used for my testing, i.e. https://www.adorama.com/bonmh54xlrat.html
  18. Nice see to your work, David. Are you still working on your Super 8 prototype design?
  19. What is the "sync sound Leicina camera project"?
  20. No cropping. That is the actual gate. Same with the WYSIWYG optical viewfinder which also has frame lines for the more modest Cinemascope format if one desires.
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