stephen defilippi

Hi everyone,

i'm selling my Arriflex 16SB and first i've listed this amazing motor on E-Bay.

ARRI SB Motor

It's all working, some tape residue on the body.

thanks

Hi everyone,

i'm selling my Arriflex 16SB and first i've listed this amazing motor on E-Bay.

ARRI SB Motor

It's all working, some tape residue on the body.

thanks

DITTO,

be careful with the SR, make sure its not made in France. I have an SRII and love it.

cheers

At 6fps your exposure time is 4X (= to 2 stops) that at 24fps. If you want to shoot at the same aperture (and film) the simplest approach would be to use a ND6 filter on the 6fps footage.

Thanks Hal, yes i get it.

cheers happy holidays

stephen

Hi

can anyone share their experience shooting 6fps (and printing down) and matching it with the film shot at 24fps.

Im filming a dance number in January on 7217 (200T) @ 24fps. I need to match it with film shot @ 6fps though. Ive never done this and I am debating using 50D with a 80a so i can shoot the same lense opening

or

using the 7217 and ND 1.2 which is dark, and thats a problem because the 6fps is handheld following the dancer closely.

any ideas to get the same look - easily.

cheers

I recently saw this experimental cinema DVD with Egbert Mittelstadt's experimental short called Unfolding.

I did some research and a technique called SLIT SCAN VIDEO was used?? what ever that is.

I can't load any of the footage, but basically the principle image is of a nude dancer moving to some sounds. Behind her is the same image moving from right to left. That image looks like it was "smeared" and so is a continuous smearing of the colors of the dancer who dances in front.

Does anyone who is familiar with the work know how he did this?

Cheers

Hi any help is appreciated

I am filming a short on 16mm next month and I don't have access to the location until the day of. Ive seen it and done measurements but I cant shoot any tests there.

The film is a basically a modern dance performance. It's a 5 minute piece in a 50' deep by 60' wide room with black floors, ceiling & walls and there are black curtains all around the "stage" area.

I have 1'600 feet of Kodak 7274 (200T) coming out of my freezer for this.

I was thinking of using a 2k fresnel with large long snoot at the far left side aimed at the far right rear part of the room. It would cross a large portion of the dance area, but not all. (I will also bring a 1k and a 650w in case this is too much light for the room).

Originally I planned to hang a 10x16' silk on the right side out of frame to reflect light back, but now im wondering about filling the back corner with smoke to backlight the dancer. Im also using a 650w with soft gel to fill the right side.

The dancer will move into and out of the light "beam" and her performance is pretty much central so I don't need to light the whole area, thankfully.

I haven't worked that much with fog, except for short scenes and I don't have time to test it out in this room, because it's so booked up with performances.

any ideas?

Would it be best to use the large silk to bounce light, the fog or maybe both. I can alway add lights, but would prefer to keep it darker.

Cheers

Stephen

Look at the photo on the right. The black knob is just to the left of the hand.

the motor on this camera is not that big. its not likely that it has broken a gear or sprocket.

cheers

hi, yesterday i finally managed to recell the battery pack of my Canon Scoopic.

Everything seems to work, auto expose works (is it normal to be quite noisy when changing aperture?). Set fps to 16 and pressing the button it seems to be running, but when i tried to load the film i found out that nothing turns in the film compartment... it just makes noise but no movement at all.

Anybody can tell me where can i send it in Europe to be checked and what could be an estimated cost ? i'm not sure if it's worth it at this point..... :angry:

Hi Henry. Try turning the black knob inside of the film compartment as you hold down the run button. Also sometimes the motors move a bit (shift because the screws that hold the bracket become loose) and this causes jamming. Im not an expert, but ive done minor repairs in the gear box and ive adjusted the motor position easily and this helped with mine which now runs perfectly.

Also make sure the single exposure button is disengaged (if it has one).

stephen

Does anyone know if empty 50' 16mm daylight spools are available, and, if they are, where I could get some?

 

Thanks,

 

Aaron

Try double 8mm , i have 2 - 25 foot spools

Stephen,

 

Very cool. I have never seen that one before. Can you give me a part number for that? Is there a part number on the box or on the motor or power unit itself?

 

Thanks,

-Tim

Hi

i cant find any other numbers which are different then those on the motor.

cheers

Chuck,

 

The auction you linked to is for (what appears to be) one of the original ARRI synchronous motors like the one pictured below. They are listed on the web site:

 

 

I was wondering if what Stephen was talking about was the second generation ARRI synchronous motor, (Cat. No. 339 302), which ARRI describes as:

 

"The ARRI 42 volt Synchronous Motor and Power Supply combination has several special advantages. The Power supply itself operates from regular 117 volt, 60 Hz, single phase power lines. It supplies stepped down voltage for the 42 volt motor. The same Power Supply also develops 8 volts DC for magazine take-up and the automatic clapstick."

 

It looks like this:

 

 

-Tim

Hi Tim, hopefully you will be able to see this photo. Cheers

Chuck,

 

The auction you linked to is for (what appears to be) one of the original ARRI synchronous motors like the one pictured below. They are listed on the web site:

 

 

I was wondering if what Stephen was talking about was the second generation ARRI synchronous motor, (Cat. No. 339 302), which ARRI describes as:

 

"The ARRI 42 volt Synchronous Motor and Power Supply combination has several special advantages. The Power supply itself operates from regular 117 volt, 60 Hz, single phase power lines. It supplies stepped down voltage for the 42 volt motor. The same Power Supply also develops 8 volts DC for magazine take-up and the automatic clapstick."

 

It looks like this:

 

 

-Tim

Hi tim

No, thats not it, thats an older unit, very heavy. Ill try to post it tomorrow. The unit I have is sleek. the piece between the motor and the plug looks like a black sausage about 2.5" in diameter and 9 inches long. the motor is a bit like the one you show but at least 2 inches longer. I have one of those as well here.

cheers

I'm a senior doing a sync-sound film project on 16mm. For our sound recording, my school offers three options, but I'm having a hard time deciding which one to take. I obviously want great sound quality, which I heard the Nagra provides, but I have some issues with A) getting Nagra tapes and B) transferring the sound from the tape to my computer. I would be willing to send off the Nagra tape to get a high quality transfer if there is anywhere that does this, as I heard transferring from the port on the Nagra directly into a computer will hurt the sound quality.

 

Any tips and suggestions on what to use? And if the Nagra is my best choice, anyone know where to get good quality Nagra tapes for a fairly cheap...and where I could get it transferred to a digital format that I could use in my computer?

 

Or if I can't use the Nagra for these reasons, what would be my next best choice...

I'm not sure about different "versions" of each or exactly which ones my school offers, but here are some sample pics...these look almost or exactly like the ones I have access to:

 

Nagra (reel tape):

http://www.sls.fi/Sparatalet/Bilder/Nagra.gif

 

Marantz (compact flash):

http://images.google.com/imgres?imgurl=htt...%3DdQb%26sa%3DN

 

DAT (digital audio tape):

http://www.gbaudio.co.uk/images/dap1.jpg

(this picture is probably the one farthest from the actual item I can use. It looks something like this, but I don't think it is the exact)

Thanks bunches.

I had a nagra 4.2 and i loved it. The sound quality was warm. I sold it recently a bought a marantz pmd666 because i travel and wanted something that was small and had xlr in. The marantz is quite excellent and easy to use. i can download directly to my computer in seconds. i can down load to anyones computer without additional software. the marantz that i have can also act as an intermediate tool to transfer dat, and 1/4" tape to a digital format.

This suits me right now, because its so convenient. I paid about $550 for it which is about what i sold the Nagra for. I do miss the Nagra and I would buy another. Also, I lucked into a deal on 1/4 tape back when I had the nagra and when I sold it, i gave the buyer about 60 new tapes.

cheers

Title says it all, I want a constant speed 24 fps motor for my Arri s. I'm tired of trying to keep speed in mind on my shoots. I would like to spend $100 including shipping to SF. If you have a crystal I would pay upwards of $400.

Let me know what you got!

kirk

hi i have one that im listing on ebay in the next few days. It looks & runs like new. Its biggish and plugs into 115 volts. the controller which is between the wall and the motor has an on/off and a forward/reverse. I've never seen an add for this and it doesn't appear on Tim's site. Its made by arriflex. I still have the box.

I have used it since i bought it and i am selling it along with my 16s/b gs to fund an Aaton. Its absolutely beautiful to use. Much quieter than my variable speed motor. It gets to speed almost instantly. Ill try to post a picture in the next day or two.

Stephen

Jonathan,

 

How does that work exactly? You put a short end of 35mm into a still camera and process in a dark room as normal? could you explain? sounds interesting, never done that, is it like snip tests where you snip the front end of the roll to gauge the process your looking for?

 

Kieran.

Hi Keiran,

be careful there. i think color film has lead in the base and so need to be processed by a lab that can clear that. you should be able to process it in a cine lab. sometimes the perforation pitch is different, i noticed that in my nikons, it still worked but i was hesitant to shoot at high speed.

as for black and white, you can do that at home. its very easy, i do it all the time

i bought 800 feet of tri-x from a short end seller for 35 bucks and the stock looks great.

good luck

stephen

Thanks Richard, particularly for the contact name and number. 80:1 to unimaginable, 10:1 is no doubt appropriate, but still not in range. I'll have to be modest, inventive and patient (and lucky). Tall order, I know. I realize these are condition under which a lot of people on this board wouldn't work. I'm trying to get a foothold in the medium, so I have to cut these significant corners. And still have fun.

Thanks again.

Hi Douglas,

It's possible that you've already read this in these forums, but the ratios will depend on what you shoot. Dialogue which is very well rehearsed, with scenes blocked out might be possible 5:1 assuming few screw-ups (which always happen anyway) also bear in mind that too much rehearsal can make it all go stagnant.

You could rehearse in front a video camera to help the actors see what you want and to help with blocking, and then shoot with the NPR.

I wonder also about your choice of film stock. Reversal might seem cheaper but you dont have much latitude. Why not shoot negative stock and telecine it, (Negative film lets you mix stocks, which might be handy if you're looking for discount film).

With a digital copy you then edit on final cut and print with the optical printer at IFCO. You can also use the Oxberry for titles & credits.

anyway thats my two cents

good luck & cheers

Hello good board.

 

I would like to have a 16mm "festival-ready" short completed by next summer, completed for $1500. I have a 15 page script and a small fundraising angle dwfilm.tumblr.com. What I need is some advice on crew and budget scope.

 

Does this outlay look feasible? Overlooking anything crucial?

 

CAST

7 actors - Volunteer

 

CREW

AD - Volunteer

DP - $50/diem honorarium (4 day shoot)

Sound recordist - Volunteer

2 grips - Volunteer

 

GEAR

(all rented)

Eclair NPR - $80

Tripod - $30

Light Meter & Gel kit - $25

Arri light kit - $60

Sound kit (DAT, boom, mic, & sock) - $80

Dolly kit - $45

 

FILM

(1.5:1 shooting ratio)

1200' Kodak Color Reversal - $510

Process to MiniDV - $360

 

POST (finish to DVD)

FCP Edit (rented time - 10 hrs) - $70

Thanks for any tips.

dw

Hi Douglas, im also in Ottawa and might be able to help out if you need.

Sounds like your at IFCO. Ditto

Stephen DeFilippi

Hi thanks for that Stephen, I have been emailing the Koday reps in India to see whether I could get some 400ft rolls and get a lab to break them up. Adlabs are really helpful. Do you think there would be film stockists in Mumbai where you could literally walk in and buy over the counter so to speak? Thanks!

Hi Ralph, sorry can't help you with Mumbai, but if you email them, they will help. Another alternative is to mail your film stock to yourself but then you risk x-ray and heat damaging it all. I guess it will also depend on what you are planning to film with. Kodak 50D will do better than 500T for instance.

My wife and I are in South India often, twice this last year. The mail service is great but we have friends who live there year round so I can send my supplies ahead, (P.S. i also send good chocolate bars and canned spaghetti sauce which is hard to find where we go).

Good luck,

stephen

Hi does anyone know of a place i can buy 16mm in India? I am going with a bolex with me, so it would have to be 100ft daylight spools. I am considering taking the film myself but the whole xray thing is putting me off abit. If anyone knows of a vendor I would really appreciate it - thanks!

hi again,

the link didnt post, ill try again

http://www.cinematography.com/forum2004/in...mp;#entry146394

cheers

Hi does anyone know of a place i can buy 16mm in India? I am going with a bolex with me, so it would have to be 100ft daylight spools. I am considering taking the film myself but the whole xray thing is putting me off abit. If anyone knows of a vendor I would really appreciate it - thanks!

Hi ralph, try this post, ive been several times and have used the Labs in Bangalore. I have no comments about other labs, except to say that India has a HUGE film industry so you shouldn't have trouble.

I do remember having to pre-purchase my film from Kodak because they didnt stock any 100' lengths. Email them long before you leave or be prepared to break up a 400' roll.

Namaste'

Older prime lenses with uncoated elements, or older zooms will flare more. The old Mk. II Ultra-Speeds at Panavision flare like crazy.

David, im also planning to add some flare to an ending sequence in a large field, the subject is "walking into the sunset" with her dog, and im wondering, should I use filters or just take everything off? Does filtering, like ND & PL effect the flare?

thanks

stephen

Ahhhh....

 

I you sure about that?

i sure am, its on the table next to me. stephen

Hi all:

 

Are the Super Baltars only available in the Mitchell (BNCR) mount? Would Panavision have these? - mountable in a PV mount? Also, what speed are they and are they compadible with a modern follow focus? Does anyone rent these in New York, or is it just Alan Gordon in LA?

 

Thanks!

 

-Jarin

Hi, I have one with an arri standard mount, 11mm.

cheers

I'm debating which camera to get. I know the Arri S is the best out of all three, but I guess I'm asking how does the Bell and Howell HR compare to the Bolex and Arri S because it is the cheapest. Also, I know the Bell and Howell is non-reflex.. is this a major problem. I read that it has six options for focal length, but I'm not exactly sure how this works and what this means. Can someone please help me out? Any infor would be greatly appreciated, thanks!

Hi, ive got one of each and very much prefer my arri 16 s/b. the filmo is a tank. mine has the 6 options for focal length which is adjustable from the side wheel on the viewer. really all it does is move a different size matt into view showing you the frame. id does NOT have parallex so you have to guess when you move closer than about 5-10 feet from your subject. My filmo runs and runs and runs, i get almost 45 seconds per wind, which is better than the bolex. it also is easier to use hand held then the bolex. i still prefer my arri though, if you can find one in good shape, you wont beat it.