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Pavan Deep

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Pavan Deep last won the day on November 23 2016

Pavan Deep had the most liked content!

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33 Excellent

About Pavan Deep

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Profile Information

  • Occupation
    Cinematographer
  • Location
    UK
  • My Gear
    A-Cam Reflex & Eclair ACL II Super 16
  • Specialties
    lecturing, writing, script editing, cinematography
    http://www.lightbreeze.co.uk

Contact Methods

  • Website URL
    http://www.analoguefilmacademy.co.uk

Recent Profile Visitors

17654 profile views
  1. I have been out taking photos with it using my digital camera and I can't see a yellow tint I would love to have it sorted. How much would it be and is it worth it? Pav
  2. I have the f1.9. Is this not as good? Pav
  3. Pavan Deep

    Kodak Ektar lens

    I recently got a Kodak 16mm camera and with it came a 25mm Kodak Cine Ektar II lens, at first I didn't think of using this lens as it didn't look great, but I discovered that he optics are very clean so I used it and and have been impressed with it as it's incredibly sharp as good as or perhaps even more than my Switar, my issue is that the focus is quite stiff. Can this be fixed? Thanks Pav
  4. Pavan Deep

    Kodak K100

    I know what your saying, I had an older Som Berthiot 'Dogleg' lens and there was nothing in the frame for focusing. I now have an Angenuiex 17-68 lens, it's smaller and it fortunately allows for critical focusing, in the centre it has ground glass circle. Pav
  5. Pavan Deep

    Kodak K100

    Thank you for your comments. For me it all started when I got hold of a Kodak Model BB Junior 16mm from the 1930's and I was very surprised how quiet and smooth this camera ran. In a way this started a sort of chain reaction as I started looking at other Kodak 16mm cameras; and learned that most of them run smoothly. I got a Kodak K100 16mm camera, it is heavy, 'built like a tank' as you say, but surprisingly its not awkward to hold or difficult to wind like so many others, it’s incredibly easy to thread and use. The wind is brilliant as you say the camera has a very long run with a single wind and there’s a very useful indicator telling you how much ‘juice ‘is left in the spring motor. So far I have been quite impressed with it, though I haven’t exposed any film it yet, the camera also has a port to attach an electric motor. The viewfinder’s, although ‘parallax’ is much better than other 16mm cameras of that era, for accurate reflex viewing and focusing I have an 16-17mm ‘dog leg’ lens. Pav
  6. Pavan Deep

    Kodak K100

    Does anyone want to share their thoughts and experiences of the Kodak K100, like; has anyone used an external motor or a hand crank with this camera. I have searched the forums and a lot of online posts about this camera seem to be a few years old. Thanks Pav
  7. Great stuff! At 24fps how long does it run? Have you got any results to share? Pav
  8. Late to the party, this thread is 15 years old, the links don’t work, and I don’t think most of those members are around. It's a very good camera and I can second that there is no critical focus screen like the 70-DR. All models [I believe there are four models] have a very simple viewfinder that took individual finder objectives, later models have an adjustable zoom or variable finder. A popular combination of the 240 was with the addition of the Angenieux 17mm to 68mm zoom lens. B&H was the 1st company in the states to introduce this lens.
  9. The BBC has increased it's programmes on their i-player and one of the shows they have put on is Spooks which ran from 2002-2011 [I think]. After watching it I can see why Super 16 has become popular again,, the entire series was shot on Super 16, I’m not sure if it was post-produced in SD or HD, it’s a lot grainier than I remember it, but when I originally watched it in the early 2000’s I didn’t have a huge 4k television, some like me like grain, others hate grain, grain is very subjective. I recall that this was the show that the BBC used in autumn 2005 when they announced BBC HD. Spooks was used to showcase how good HD was going to be, at the same time the BBC also said that Super 16 wasn’t suited to HD, but they didn't like to mention that the show that looked amazing in HD was actually shot on Super 16 the very format they were 'retiring' saying was not good enough for HD. Watching Spooks now, I feel the photography is still excellent, it’s fresh and holds up really very well, it doesn’t look tired, dated or aged. Pav
  10. I am sure this has been said here, recently Super 16 has become very popular; there aren’t many decent Super 16 cameras out there which is probably why the Arri SR2’s SR3’s and 416’s have become quite pricey as have the Aaton Super 16 cameras. You might be able to get the older Eclair NPR or the ACL that have been converted to Super 16, or some Super 16 Bolex cameras, other than that there isn’t really an affordable Super 16 camera option. There are, however plenty of standard 16mm cameras from sophisticated ones to very basic ones that are very affordable, but with any standard 16mm camera you’ll have to crop the image and naturally that will mean some loss in image resolution, though with modern stocks it’s not really a problem. Pav
  11. I use an ACL, I have never used filters, I just keep it taped up.
  12. I need an WTB Arri SR2/3 or Aaton XTR/LTR S16 fiber screen/ground glass for a reflex conversion project. Thanks Pav
  13. It has been gone a while but I hope it comes back as it was very helpful. Pav
  14. It easy always easy to follow the current trends and just accept other peoples truths without exploring realities. We need to look at things in context, we can't simply say that film is too expensive and digital is cheap, we can't really compare the costs of film verses digital, it's not that simple, there are so many variables. When we look at costs in film making in most cases the technology used is only a small fraction of the entire budget, labour both on and off screen is almost always the most costly aspect in most films. Pav
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