chuck colburn
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Posts posted by chuck colburn
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You can do it easily without an assistant, I figured out. Line up like that to a wall, it doesn't really matter if you're perfectly perpendicular or anything. Move in near the close-focus (you have to be close for this to work well) of whatever lens you're on and focus on the wall. Open up full wide. Then shine a bright light from inside the viewfinder. It will project the groundglass markings on the wall for you to trace and add pointers-to.
We use to do something very similar to what you suggest. Except that first we put some SMPTE projector registration neg. in the gate and shined a light thru it and marked the corners and cross hair on the wall. Then we would project the light thru the ground glass to confirm alignment of it to the gate. Your method is fine if you are sure that the ground glass is in alignment to the gate to start with. This method is also handy when aligning up two cameras on a beam splitter 3D rig.
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I believe the sync pulse came from the MST motor which also generated the pilot tone to sync the sound recorder.
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Hello
I received a rx5 yesterday, and there is this part I cant figure.
Is this an accessory ? Ive seen it on the pictures in a manual but no explanations.
Looks like its a tiny light bulb that goes right under the gate.
What is it for ? printing sound on the film ?!
Thanks for your help
Bloop light
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Well do you want the glare there?
Ahahah...
I've been in a piss poor mood all day and you just made me laugh my you know what off.
thanks
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I got a pristine condition 1200 foot mag, and started fantasizing about saving loads of cash using 33 minute loads, saving reload times on film shoots, and easier editing ...
but it won't fit on my camera because the box for the video tap sticks up just a bit too far, and unfortunately, my regular camera mod genius Paul Hillman appears not to be interested in modifying this.
So I'm wondering; before I go to the trouble to find someone else to do this, are there any downsides to using one of these? (other than obviously, it's BIG!)
Is the stock that much cheaper in 1200 foot loads?
Matt Pacini
Can you still buy those loads?
If I remember right the video tap mounted on top of the front of the body. If you didn't have one there was a little cover plate that mounted flush to the surface and held down with four screws. Shouldn't be much to removing the video tap and even if you don't have the plate you could use a bit of cardboard and some tape.
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Right, I don't know if this is the right area to post this but *technically* it IS about a type of 35mm camera, or its housing, so. I put it here. Please move this if it's in the wrong place, obviously...
I've just been watching some of the raw footage to the 1994 film 'Speed' - the bit where the subway train is sliding along the road at the end of the film.
There were at least 8 cameras on this shoot, and in one of the shots you can see a few cameras unmanned in the road.
I was watching the footage from one of these cameras, as the subway train just glided towards the camera... closer.... closer... *crack*
The lens cracks and then it stops rolling. I think, "WHAT."
So I look from another angle and see that the train appears to be GUIDED into this camera, and when you see it hit, the camera just smashes into pieces.
I've NEVER seen this before, I've always seen cameras treated with such care, and rightly so, they're expensive - so what the heck happened here d'you think? Was this intentional? If so, what kind of camera/lens d'you reckon it was? Is there a 'cheap' 35mm camera that is built for smashing up?
Be interesting to know...
Think Bell&Howell Eyemo with a Nikon lens mount. Thousands have died in the line of duty.
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Here are a couple of good ones. Steer clear of those ones that just attach by a couple of set screws under the S/B ears.
http://www.cinematechnic.com/products/PL_M...pt_ARRIBay.html
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What precautions should be taken with the lens originally having ARRi Bayo mount with the PL adapter to the PL mount camera body?
Regards,
There have been some really crappy S/B to PL adapters made over the years. The least you should do is have it checked on an autocollimator bench and preferably on the camera with running film. That way you can see if the film is breathing (not holding focus) in the gate. Don't count on any lens adapter as being right.
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Thanks Chuck,
So as it stands, where is the focus set?
[/quote
Nowhere. It's just an optical group that can have whatever focusing configuration and lens mount you want put on it.
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Can anyone tell me why this lens doesn't require a focus ring?
I'm sure it has something to do with being an "objective lens" but I can't find any info in the AC manual or by searching the forums.
Thank you
It's in what's called barrel mount or that is to say just the basic lens housing with an aperure control ring. A focusing mount could be added to this or it could be used that way on a set of bellows or whatever. It's f2.0 not f20
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Mitchell distributed them in the US.
The 16mm high speeds were distributed by Cinema Products under a house brand name which I can't recall at the moment.
Mitchell had them in BNCR and S35R mounts. I think they actually had an interchangable mount system.
The 16mm high speeds also had interchangable mounts.
But try to find those mounts now.
Older Kowas were availiable in Mitchell std/NC mounts, but probably didn't have a US distributer.
The CP lenses were called Ultra T primes
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Yeah I love that movie. I saw it in the theater when it came out, it blew my little seven your old mind.
That and "The Day the Earth Stood Still" are two of the greatest Sci Fi films of all time.
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Tim, I'll have to beg to differ here.
SR's have a chronic problem with weave. That is side to side or lateral movement of the film in the gate. This can often be made worse depending on the cut of the stock. It's also much worse towards the end of camera rolls when it will really start to move around. The registration pin may seem like a good idea, but as a camera engineer once pointed out to me, on an SR the registration pin is always moving. Especially on Super 16 modd'ed cameras which almost always have 172.8 degree shutters. So now you have pin that is MOVING during the exposure phase. So while you may argue the registration may be better, it's got to be affecting overall image sharpness. I can't tell you the number of times telecine colourists have said to me that my pictures looked really sharp. I just tell them it's because I usually shoot aaton in 16mm.
Aaton's have a pull down claw that moves the film (including their current models) but no registration pin. They readily on steadiness by using small spring loaded guides that push the film gently from the sides.
I used to work in a rental house. We had both aaton's and sr's of all flavours. Across the board the Aaton's were always steadier when performing DX registration tests. Now you mention that the cameras are steady right after an overhall. But perhaps you've used aatons where they haven't cleaned out the lateral side channels that make these cameras so steady. It's a relatively simple step to take an orange stick and make sure these tiny spring-loaded guides are functioning, and clear of skiving remnants from stock. it takes about 30 seconds.
The aaton a-minima is the most steady 16mm camera I've EVER seen.
jb
Huh... I thought it was the pressure plate that provided the registration on the Aaton. Spring loaded side rails on every other camera I've seen with them are for control of side weave.
Chuck
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Does anybody know what the widest T-stop is for this lens? If I'm not mistaken, this lens opens to a fairly wide F-stop. My question is would I be able to use this lens for a low light situation? I know a good prime would be ideal, but I need something in a CA-1 mount or C mount (Eclair NPR). Any recommendations for a rental house that might have something like this in the Los Angeles area, a length of around 8mm?
thanks
-Joshua
Hi Joshua,
I think they were T1.9...... but check on that. They were a very good lens for the time. I bought a few of them for the UCLA film school and was impressed by their performance. There are always a few on ebay at what seems like a good price.
Chuck
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It looks like HVX200 footage to me. Way too noisy.
Oh comon.... are you saying it looks like footage out of a home camcorder? You gotta be kidding.
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It's a publication for camera men/women, it's not a film review rag. If it has an article about a film you haven't seen, don't read it.
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So I went to the first intro meeting/production meeting with a new director in town. We talked about his new project, which is actually really interesting. Sort of like a modern western/musical. Very interesting concept, very well produced so far.
My question revolves around several shots he has planned involving a steady cam. Obviously I need some kind of follow focus to make it work, and it can't interfere with the steady cam operation, but budget is limited. A standard follow focus might be in the cards, but I doubt a wireless one will work. My question is what are my options. When I think about the cameras we'd be using (ZU1, DVX-100 or similar prosumer cameras) it seems as if I don't need to physically turn the barrel, since they are servo anyway. Is there any solution out there to connect to an electronic port and control electronically? It seems like that would be cheap, and since the wire can be strung un-obstructed with no physical force, it won't interfere with the steadycam operation. Does any solution like that exist, and if so for what cameras?
If that doesn't work, whats my cheapest option for a follow focus rig that will work? Some of the shots obviously go from 1ft up to 10 ft, so at any stop I'd be beyond the DOF, even with 1/3" cameras. How can I get this to work cheaply?
Go to ebay and type in follow focus. There are some lower priced FF and base plate units for home camcorders listed there.
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This was my first project on the XL2, it was never truly completed but was a good primer into all of the new equipment.
This is a hobbyist project. This is all made with friends with the same interests.
http://www.savagegeese.com/curtainfalls.html
Any thoughts?
MARK,
NICELY DONE.
Clean camera and lighting, very good sound. Just enough fx in post to lend something to the story.
If this is your first project I see good things in your future. I liked it.
Chuck
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I'll probably be working. For some reason every year, somebody wants to shoot on Halloween, so I guess I'll be dressed up like a cameraman. :P
Damn! now that's scary.
I'm going as a lumber jack so I can chase the kids down the block with my chain saw.
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Hiya,
How Does one check the Registration/Steadi Test, since one can't project the exposed negative like the normal 35mm test neg.
Thanks a lot.
Cheers.
Yeah you can. Even though your projecting the short pitch negative you can still tell what's up in the reg. test. If both pairs of lines of the reg. target move up and down on the screen it's projector registration error. If the pairs move seperatly to each other it's camera reg. error. Same holds true for the vertical pairs of lines (weave).
Chuck
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Take the lens off and look through the turret hole. Either hand crank or single frame the camera and you should be able to see the degree of shutter opening.
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Hey Doug,
Are you sure the lens is 5.6mm? Angenieux use to make a 5.9mm for 16mm cameras.
It's not a fisheye.
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And there are different mount adapters availble for use on Canon, Olympus etc.
And it focuses cinewise.
35mm Ultracam movie camera
in 35mm
Posted
Hey Stephen,
Got anymore of those Universal mounts (PL, S/B etc.) laying around you aren't using and need to find a home for?
Chuck