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Pavan Deep

Basic Member
  • Posts

    437
  • Joined

  • Last visited

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

19001 profile views
  1. I agree, I think while digital has gone mainstream I do think film especially 16mm shot well makes your project more special.
  2. Thank you both, I discovered that working with a non reflex isn't that hard, you do rely on 'gut' instinct and you keep in mind the slight parallax error, so what you see in the viewfinder won't always match what you're filming and you do have to adjust and guess for that. You know everything will be in focus when we measure and when there's plenty of light and when using wider lenses and a 25mm lens things are easier. I do have a dogleg lens; the Angeniuex 17-68mm, but on this occasion I didn’t use it, it's a great lens but I think the 25mm Switar is sharper and much smaller making everything neat and compact, my only regret is I didn’t use a tripod. Pav
  3. I've been out filming with a non reflex camera, the Cine Kodak K100, the gate was machined for a wider Super 16 image, measuring and guessing distances for focusing was nerve racking, but it worked. It's truly an amazing camera which is seriously "underrated", there were no light leaks the images are incredibly steady and the camera runs very quietly. https://vimeo.com/708706363 Pav
  4. Pavan Deep

    Colour Systems

    I have been looking at old colour systems. Has anyone here ever used this old system from ABTO technology, apparently you could shoot on regular black and white film using their special filter mounted behind the lens in a 16mm camera then project it on a projector telecine chain with their filter mounted in front of the film but behind the projector lens and the colour camera on the telecine chain would pick-up the image and produce colour video image. Pav
  5. The 240 is a great camera, I have the one that takes c mount lenses not the EE,The camera is a simplified version of the 70's Here is some recent footage ; https://vimeo.com/user563804 http://www.analoguefilmacademy.co.uk/About.htm Pav
  6. I am with you regarding the ACL, it's my favourite in so many ways. Pav
  7. I know, it's pretty unbeatable, it's the best out there, and is the most sought after Super 16 camera, whenever 16mm is used for a film or television series they tend to be shot on the 416. Pav
  8. I have said this in a Facebook group. This new camera sounds very exciting and I really want to see it, but at the same time I think it will be very expensive, and as such won’t be used by film teaching institutions who are extremely important as they teach tomorrows filmmakers, but on the bright side this might bring down prices of existing S16 cameras like the Arri 416 as most institutions work with older more affordable and durable equipment. I hope this camera appeals to professionals in film and broadcasting, but this is a big ask as many of them will want something better than the Arri 416. Looking at the website I don’t think this camera will appeal to younger filmmakers, students, colleges and universities, many of who are used to smaller and cheaper digital gear, but I hope I'm wrong. I know from my own experience of teaching; youngsters want a smaller camera, something that’s easier to use and ideally want to use smaller and cheaper lenses. I think here a simpler version of the ACL will be popular, a camera that is small and can accept different sized magazines and that can take c mount or Micro 4/3 lenses Pav
  9. It is one of my favourite cameras too. If you can sense the tension in the spring as you wind and the spring meter is moving as you wind then the problem is most likely the shutter getting stuck. Look for signs if the camera has been opened before, the front plate slides out once the screws are removed, there is usually a sealant too that you have to cut. As we take the front plate off the shutter can 'accidentally' bend very easily, I have found that a bent shutter is the main reason if the camera winds but wont run, the shutter can be easily straightened out. Pav
  10. While there are some who love their K-3's and have no issues, their are just too too many horror stories, jumpy film, light leaks, film scratching and flickering. I don't think there is anyone here in the UK who'd repair them for a decent price, it's probably cheaper to buy another camera, but you could try www.cinefix.co.uk . Pav
  11. I know this camera is popular among collectors, but I would like to hear from anyone who has actually used this camera to film with so they can share their experiences and what kind of images it produce. Pav
  12. Pavan Deep

    Y16

    I will take some photos and start a new thread, it's just been hectic keeping track of things. Recently I have been working on multiple projects; the 100ft magazine for the ACL, reflexing a K100 to and have been building a 16mm scanner too. Pav
  13. Pavan Deep

    Y16

    It sounds like a simple job to move the parts over to a new housing, but it isn’t and things aren’t cheap, I have been making a small magazine for my Éclair ACL that accepts 100ft spools of film, like many I like using the small 200ft magazine, I normally use 100ft spools in mine, because it’s a lot easier than getting film on 200ft spools or cores. I have been working out how much my 100ft magazine has cost me and have realised it’s been quite expensive. First; I bought an old magazine, it didn’t matter if it worked I just needed it’s front that clicks into the camera, it was an old 400ft English magazine, I have looked around and when they come up for sale they are between £100-£200, I cut the magazine down, this took a lot of time as I had to disassemble it, once cut I cleaned all the components and reassembled them this took a lot of time. Second; I made a new metal frame, because this frame is one piece it had to be strong and had to be made to precision, it cost me a lot, I drilled holes in the magazine front and attached the frame. Third; to make the new magazine light tight I made side panels again out of metal, because of the precision for making panels for both sides and front and ensuring they’d be light tight again they cost a lot. Fourth; I used nylon spacers for the rollers and long screws - these were cheap, I created a thin wall inside [like the earlier Kodak K cameras] and made two chambers and attached a take up spool to it, the wall is made of tin and again it cost hardly nothing, but the take up spindle cost a lot as I had made it out of light plastic via 3D printing, this is linked to large sprocket by a commonly found [Ebay] tape player belt. In total the magazine has cost me just upwards of £700 and I haven’t accounted for my time, or for my research, or the parts that I made which couldn’t be used because they were not right or slightly out of tolerance and then there were other costs for many miscellaneous items, tools and postage, so really the costs are probably nearer to the £1000 mark. Pav
  14. Pavan Deep

    Y16

    You mean to have a magazine that can use the common 100ft spools in the Minima? It can be done I did it, but as I discovered it’s not easy, I built a magazine, that was the easy part, but my attempt wasn’t entirely successful, there were two reasons; firstly, I couldn’t create a reliable mechanism to drive the take up spool and secondly I think a crucial factor that I overlooked is the camera’s mechanism design, the way the film travels through the rollers, the claw and the loops these are all optimised for film is coming from the Minima spools which is emulsion out that has the right film curl for emulsion out film.. As far as I know Kodak doesn’t do the film anymore; apparently it's all about the 'natural curl of the film', in the original Kodak Minima spools the film was loaded emulsion out and this film curled in particular way. People often get Minima spools and load with normal film loading it emulsion out this film curls in a different way, but to get excellent results the film has to curl right, for normal [emulsion in] film it can take a while to get the to film curl right so that it behaves like film on the emulsion out and therefore the image may not always be perfectly steady. Pav
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