chuck colburn

Hello, I apologize, I was sick. Turning to look, I can press down the "c-mount" thread, but does not rotate. That's my problem.

Regards

There is a tool Angenieux made for adjusting their spring loaded "C" mounts on their zooms. It's called a "T" wrench. Any rental house or repair shop has a bunch of them laying around. Should be free or at the most a few bucks.

Oh sorry Max, I bought these a while ago so the ad probably was retired but here some pics:

 

 

 

 

 

Do you know what the Arri kit goes for? This kit came with a 22mm, 35mm, 65mm and 90mm which seems a bit of an odd selection but for macro photography it might be perfect.

Actually not so odd. These barrel mount (no focusing threads) lenses are very similar to the Zeiss Luminars which were also designed to be used with bellows or extension tubes.

Hello,

 

I was looking through one of these today, and was kind of surprised that it did not function like looking through a zoom lens, but instead the frame got smaller and further away as you increase the focal length. Also there was a lot of light reflecting on the inside of the finder.

 

Is this they way this, (and others) director's finders are supposed to function?

 

thanks!

Yep. Unless you by the type that actually mounts the camera lens on it. Sort of like a SLR without a film plane, just the ground glass.

What John says.

Annie did you get my PM about the lens? Something was going wonky (good chance of operator error) when I was trying to send it.

Go to the site listed below and look under "Newbies" or "operating and type in video. Lots of info there.

http://www.steadicamforum.com/forums/index.php?

You could shoot on 65mm film and transfer to video.

That is false, as my MOS camera does not have even a pilot-tone sync, as it's a hand-cranked 35mm.

 

No, MOS means "without sound" simple as that.

That's what I always understood it to mean.

The ASC does not nominate films for the Oscar.

Yes, the academy members nominate the films.

And since Eyemos are getting harder to find (use to buy them by the crate for $25.00 apiece) the 2C's make nice crash cameras too.

For those of you stateside, you can buy it from Dereck Whitehouse. Probally save on the shipping that way.

So im a student at SDSU majoring in television, film, and New Media and have about a year left of school. As soon as I found this web site about a month ago it has provided me with a wealth of information and pointed me in the right direction. Currently I am reading camera assistant's manual by D. Elkins, Motion picture and Video lighting by Brown, and Cinematography 3rd.ed by K. Malkiewicz and D. Mullen. So I found a posting on craiglist for a PA job for a television pilot (seems to be professional) and they called me earlier so I was wondering if anyone has any advice on what I should look out for, will I be needing anything, etc.? Also the person said it was from 7am to 7pm Saturday and Sunday, I wont be getting paid but I dont care I just want the experience.

 

thanks

Jesse

PA for what? Camera, grip, craft services, etc.

Hi

 

Here is the teaser for the first Live Action 3D Digital Movie ever... Someone think that is "Journey to the Center of the Earth 3D". But this movie has an earlier premiere, so its actually the first one.

 

The film is Norwegian and is made for a 4D Cinema. Thats probably why no-ones ever heard of it... yet. The language in the film is in old arameic.

 

Anyway... here it is:

The Teaser

 

Please critique.

4D Cinema? What time do I get there to see it? Before it starts or after it's over? lol

Looks interesting though.

Brainstorm...

Or Wim Wenders Untill the End of the World

If I was to come across problems then wouldn't it be better for Arri to test for registration problems and then be able to amend them. I'm inclined to bring it to Arri because it's there camera make and I they would be able to give the camera a clean / once over.

 

I don't feel that comfortable doing it myself, as I have only a limited amount of time on my purchase insurance for the camera. I'd like to make sure that it is in working order and in as good a condition as the seller said it was.

 

What should I ask Arri to check / service for if I do bring it to them?

Well unless they have in house film processing it's going to take them as long to do a reg. test (if not longer) as it would you. But anyhow what you want to know is if the camera is steady and the film plane is seeing the same as the ground glass and that the lenses are properally collimated to infinity focus. And that your zoom is set up right for front and back focus so that it holds focus as you zoom. They know what to do. It won't be cheap at Arri for this type service. Mayby there is an independent service tech or rental house in your area that offers this service for less.

The school I work at has a bunch of those...I looked at the exploded drawing to see if I was missing something obvious and couldn't really come to any conclusions as to why they're so jumpy. Although it does seem like the size of the gear could be a factor. I found that it helps to have a wider focus ring on the lens barrel itself. that way it sticks out enough to allow the gear to grab.

 

Who knows- now you have me curious and I want to look at one at work tomorrow!

Hi Annie,

If possible, could you post an image of that exploded view?

thanks,

Chuck

Do you think it's worth me getting Arri to have a look over it before I go shoot a 100ft test? To Collamate the lenses I think the engineer said to me on the phone? And he suggested to do a test where he would shoot and image, then rewind the film and re-shoot the same image to check for steadyness?

When doing your steady test use a cross hatch target with vertical and horizontal lines in a grid pattern. Make one pass (underexpose it one stop) and rewind the film. Then offset your target slightly on the vertical and horizontal planes for the second pass. This will let you detect weave in the gate by looking at the vertical line pairs and detect any registration problems by looking at the horizontal line pairs. Be sure not to move the camera between the two passes.

Niki:

 

This has gone too far. You should stop hijacking this forum to vent on your antisocial, domineering and psycho tendencies. I think it is clear you are deranged and need to bring conflict into whatever situation you con your way in. Your self-rightousness and sense of entitlement are second to none. Please stop posting and seek proffesional help NOW!

 

You have abused the good nature of people in this forum long enough, are you happy? Now move on and spare us your hateful peddling of sour grapes.

 

Thank you.

 

 

The rest of us should just ignore this person from now on . . .

Morning Saul,

Your better with words than I am. lol

Chuck

This has been a big few weeks for me here in L.A., trying to find employment in the film industry, getting no where fast and then getting work but not much which is called "paying your dues". Well I've decided I don't want to pay my dues, I want to helm and command asap. This student film I work on what a somewhat stupid 1940's film noir throw-back, I'm sure if I continue "paying my dues" I'll be working on car commercials,infomericals and whatever crap until I finally get that cash-cow WB syndicated series when I turn 30. By that time I'll be known whithin the the scene as a hard-working AD or something..

 

I have little regard for rank-file positions and almost immediately after coming onto this student film set I wanted to tell people what to do! I wanted to fire the DP, a mouthy girl who thought she was the director. And then fire the director because she was a mouse and I couldn't understand why she was in charge except her rich mommy was roaming around the set (kick her off the set too.) Every shot they did I wanted to say something, I would stand there and have the hardest time not saying something!

 

Plus I think modern sets are bloated and actors are losers for the most part. I wanna beat ,really beat, alot of them into the ground.

I know this sounds dark,violent and "bad attitudey" but I could care less. I'm gonna step up on the backs of these people.

 

And how can I get a agent?

So I have my script Ideas, where can I get a good writer at?

What are the advantages of filming "independant" in L.A.?

Well I want to fly so where's my Lear jet?

With your shitass attitude you will fit right in with certain elements in Hollywood. Don't forget to bring your tube of KY jelly you arrogant little prick.

i find the angenieux on the soft side. this will be even worse in super8. better to get something new that will be sharp especially if its cheap

Thats interesting. I probally looked at at least a hundred each and chances are many more than that over the years when I did lens repair. Since both designs are fixed focus and have to be spot on in their backfocus adjustment, perhaps the one(s) you saw were out of collimation. The Ang. 10mm takes an optical tech with an autocollimator at the MOST, ten minutes to adjust. The 5.9 a bit longer.

Anyhow new, cheap and wide angle don't live in the same town let alone the same state. lol

good luck,

Chuck

I'm an LP in NYC putting together a Nike spec spot. Project is being directed by an Emmy-nominated VFX supervisor and will have a good deal of high-end post work applied to it.

 

Looking to rent a RED for a one-day shoot, rate is negotiable. Please contact me to discuss at

 

bigboy@seducedandexploited.com

 

Thanks,

 

Barry

Hey Barry,

Over at the Reduser.net site they have a rental by owner section. Might be of some help to ya.

Now that I think about it, my Optimo 15-40 is missing... :D

Allen did you go retrieve your lens? Cause it seems to have disappeared off of ebay.

Two nice wides that can be had in "C" mount are the 10mm f1.8 Angenieux and the 5.9 Angenieux also I believe at f1.8 The 5.9 has very good rectilinear correction for it's focale length.

Thanks all for your answers and reactions!

 

I'll post my experiences with the lens and cam here for those who are interested...I should have it in a couple of days now.

Maybe I'll even let a technician check the Leitz's for perfect use with the Fuji since I'm not using the Leicina that much anymore. (I had multiple problems with steadyness and cassettes on set!? :blink: )

 

ALSO the Leica-m to C-mount convertor that I'm using on the Fuji is from Beaulieu!

So I guess the convertor was made for using M-lenses on a Beaulieu= not really C-mount. (Alltough I've never noticed sharpness problems with this config...)

 

Am I wright?

 

Greets,

Benjamin.

Every still camera mount to "C" mount adapter I've seen or checked was assuming a standard .690" "C" mount flange focale depth. I doubt if the Leica to "C" mount adapter is otherwise. Since I would think that the manufacture would want it to work on any "C" mount beit Beaulieu, Eclair, Bell&Howell or whatever.

cheers,

Chuck