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Phil Savoie

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About Phil Savoie

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  • Birthday January 1

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    Montana / Wales
  • Specialties
    Filmmaking Flyfishing & Frogs

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  1. Just listed some factory sealed 400ft loads from my fridge in the Cine Marketplace. cheers, Phil
  3. Cameras and lenses now on Ebay here thanks
  4. now listed on EBay click here to view Thanks Phil
  5. Blackwrap. Or contact Eddie Catton-Orr at the Production Gear Co. http://www.videogear.co.uk/contact/info_19.html - Eddie was the lead salesman at Optex before it folded I'm sure he could help.
  6. Nikon 50/300mm ED Zoom T 4.5 PL mt - SOLD - the buyer said - "I bought this lens from Phil. You all should know that buying from Phil was a wonderful experience, consumate professionalism, communication, etc - and the lens, ah, the lens - it is in near new condition somehow, cared for like a child it appears, even with all the field use. I feel proud to own it!" Thanks Phil. __________________ Anson Fogel Forge Motion Pictures www.forgemotionpictures.com http://www.flickr.com/photos/11454121@N00/sets/72157624634560416/
  7. Personal equipment not ex- rental, exceptionally clean and professionally cared for. Will ship worldwide, buyer pays shipping and import duty. Contact me with any questions or for large jpegs. Thanks for looking. Phil Savoie DP, Bozeman Montana philshoots@gmail.com or 406-599-2670 Arriflex SR Super 16mm High Speed P&S Evolution conversion, MINT condition, DP owner. Body with P&S Evolution High Speed control, 10 presets, 5-150fps, digital footage counter, SR-3 HS gate, HDTV safe ground glass, PL mount with cap, Rodenstock wide angle viewfinder with heater, 3 400’ Mags P&S Super 16 High Speed converted w/ throat covers, 3 NMHI re-celled batteries, SR grip, remote on/off switch, Cine 60 quick charger. Always kept in airtight Pelican cases with silica gel, personal camera never rented. Custom flight cases not included but can be negotiated separately. Regularly serviced @ Arri GB. - $9500 OBO http://www.flickr.com/photos/11454121@N00/sets/72157624509527671/ Arriflex 35mm 3-C, 3Perf Arriflex III C Camera w/ Cinematography Electronics base, Upgraded 3 Perf movement by P+S Technik in Munich for HDTV origination saves 25% in stock and processing, variable shutter from 15° to 165°, Rodenstock wide-angle viewfinder crisp and bright, 3x 400ft magazines with loop protectors, 2 12v MINH batteries and charger. Super 35mm HDTV safe ground glass, custom adjustable handle with 3/8ths accessory receptacle. Included is the factory III C Arri Pistol grip variable speed motor crystal sync (1-50fps), PL Cap and throat plug. Serviced by Andre Martin @ Clairmont Camera. Always kept in airtight Pelican case with silica gel, personal camera, clean and well looked after. Case not included but can be negotiated separately. - $9900 OBO http://www.flickr.com/photos/11454121@N00/sets/72157624634198676/
  8. Lenses For Sale: Personal equipment not ex- rental, exceptionally clean and professionally cared for. Will ship worldwide, buyer pays shipping and import duty. Contact me with any questions or for large jpegs. Thanks for looking. Phil Savoie DP, Bozeman Montana philshoots@gmail.com or 406-599-2670 Zeiss 35mm Format Mk III T1.3 Super Speed set - $46K 18mm, 25mm, 35mm, 50mm, 85mm, with caps and a Chrosziel 4x 5.65/4x4 swing away Matte box w/ top & side shades and custom flight case. Mint condition, serviced by the Carl Zeiss factory in Oberkochen, Germany. Viewing jpegs here http://www.flickr.com/photos/11454121@N00/sets/72157624509928389/ Canon 14mm L T 2.8 PL mt - $2500 Excellent+ condition. Optex conversion of Canon’s excellent L glass wide angle in top condition with caps. 10 inch minimum focus. Covers Super 35mm and as an ex 35mm still glass it should cover Red Epic. http://www.flickr.com/photos/11454121@N00/sets/72157624509667021/ Nikon 180mm ED glass T 2.8 PL mt – $ 3250 Mint condition. Optex UK conversion by George Hill, calibrated to T stops on the Optex MTF. Covers Super 35mm, as an ex 35mm still glass it should cover Red Epic. Widely recognized as one of the sharpest Nikon lenses ever produced. George converted two of these lenses for cine use; one for Stanley Kubrick used to shoot 2001 and the ED version offered here. Razor sharp prime ED optic with dedicated lens hood and caps. Zeiss 12mm Mk II T 1.3 – Excellent+ condition, Arri bayonet mount with caps. Famed Zeiss Super Speed with T* multicoating. With 90mm custom front ring for matte box. Covers Super 16 and RED. Arri bayonet to PL adaptor also available if needed. Please check out the Mint Arri Aspheron T* for this optic also for sale, it changes 12mm to 6.6mm with no light or optical quality loss – both optics are tack sharp. I also have the very rare 138mm “Frisbee’ Tiffen circular polarizer for the Asphron. Zeiss 12mm Mk II T 1.3 - $2200 Arri Bayo to PL adapter – This is the Arri factory PL mount adapter that ARRI USA sells for $1480.00. $ 585 Arri Aspheron T* for 12mm = 6.6mm - $ 800 138mm “Frisbee’ Tiffen circular polarizer for Aspheron $ 800 Buy all of the above for - $ 3750 Canon 7/63mm Zoom T 2.6 PL mt - $5900 w/ with 4x4 clip on 2 stage Matte Box & custom Chrosziel adjustable eyebrow shade. Excellent+ condition. Super 16 & RED compatible. http://www.flickr.com/photos/11454121@N00/sets/72157624634493138/ Nikon 50/300mm ED Zoom T 4.5 PL mt - $4850 Optex PL Mount conversion w/caps lens hood and stump. Excellent+ condition. Focus Scale in feet and meters. S 35mm, Super 16 or RED. http://www.flickr.com/photos/11454121@N00/sets/72157624634560416/ Canon 800mm L 5.6 PL/Nikon/Universal Mt – $2800 Optex conversion to universal mount – PL & Nikon mount, hood, cap, 2x converter all in custom flight case. http://www.flickr.com/photos/11454121@N00/sets/72157624509783147/with/4852462372/
  9. The Zeiss Super Speeds are excellent optics. Like all high speed lenses (and most lenses for that matter) they have inherent flair wide open as others have mentioned - one stop in kills most flair and two stops in should yield flatness of field. The Zeiss SS lenses commonly perform best and offer top resolution @ 5.6 ish. As each lens is an individual you'll have to project them to find the optimum stop, if thats what you seek. Jorge Diaz-Amador has a informative website that details them and their history. http://cinematechnic.com/resources/zeiss_s...1,2_lenses.html
  10. You are made a good buy the price was fair and the kern 5.5 aspheron was better optically than the 6mm later produced for the 10mm by Century.
  11. I'd suggest a B4 to Nikon mount. I have used them for both HD and film work. Nikon makes excellent macros: a 200mm 4 that offers a very useful working distance for lighting, 105 2.8, and the razor sharp 55 2.8 that for years was used on many an Oxberry printer. The B4 to Nikon mounts are around but scarce. If you have a good cine machinist he can make you one or you'll need to do some digging for a used one. Diopters are not the way to go for this type of magnification. For micro work Zeiss Luminars are the considered by most macro/micro shooters as the best. They are out of manufacture for well over ten years which is sad as they are optical gems. These are the only lenses that I am aware of that are optimized for up to 40 times life size. A few years ago when speaking to the Zeiss factory in Oberkohen I queried if they would ever make them again and was told if they did they would cost about 4K (US) each. You could try calling Helmut Beiurke and ask him if he has any used ones laying about. And you do see them pop up on ebay every so often but they are often quite old examples and lacking the more modern multi coatings. Now and then you do see the later issues and as luck would have it there appears to be a clean set on the block minus the 100mm: http://cgi.ebay.com/Zeiss-Luminar-16mm-25m...6#ht_500wt_1182 Another option would be to go for some Leica Photars: 12.5mm, 25mm, 50mm, 80 and 130mm as they are still in manufacture and cost around 2.6K (US) each. Both Luminar and Photar terminate in RMS mounts. This is an odd fine reverse thread known as the Royal Microscope Society mount or the 'Royal Screw'. This affectionate moniker is applied when you need to find the taps to have a machinist make you a mount for Cine/HD work! Oh yeah another thing - these lenses don't focus. You focus by racking them in and out with a focus stage. This is jolly good fun when your DOF is measured in microns. Throw in a tilt wedge and a set of wheels to keep the other hand busy and your away. Try operating on some nervous ants someday! The little rascals will put your operating skills to the test. Check out the micro database http://www.macrolenses.de/ - a great resource to bring up up to speed on these special lenses. If I'm not mistaken Denny Clairmont rents a PL Luminar set. Maybe he can do you one in B4. He also has a InfinFX K2 macro, never used it but it looks like fun. Give him a call and tell him I said hi. Good luck with your work.
  12. Sorry to come to this thread so late Walter. I've commented on this question before on this forum. There are both technical and artistic considerations. I spent some months during pre-production for the BBC Planet Earth series testing origination formats for HD transmission. Our tests showed Super 16 shot on low ASA stock, 50 ASA Eastman, 64 ASA Fuji looked outstanding when transfered to HD D5 on a Spirit at 2K. In fact 16mm looked fabulous up to 250 ASA - the Eastman 250 looking significantly better than the Fuji 250 due to it's T grain. 500 ASA on 16mm did look quite grainy. 35mm looked exceptional in terms of color depth, latitude, resolution and overall image quality whatever the ASA, even 500. The tests were carried out at Arri Media in London with assistance from Kodak, Fuji, Arri as well as Sony and Panasonic. We tested the Sony 750 and 900 cameras and the Varicam vs Super 16 and 35 (3 perf). 35mm simply knocked you out. A number of business professionals reviewed the test footage and 35mm to HD is simply gorgeous. Obviously craft is part of the equation and 16mm certainly benefitted from being shot at optimized T stops. In terms of grain it's also an artistic choice, some like seeing a bit of grain. As David stated the real problem with much of the 16mm seen in broadcast HD is grain accentuated by the compression broadcasters impose on the image in the transmission process. As well as the odd archive footage. And as you have noted both the monitor and viewing distance play a part. The bottom line in my opinion is 16mm is more than good enough for HD when good craft and low ASA stock is employed. This testing was a few years ago now and we used a combination of Zeiss Super Speeds and Ultra primes and the stock of the day, 7245, 8622, 7246, 7279, 7218 - as I recall 7218 had been recently released. One would guess that stocks, telecine capabilities and lens technology have all improved significantly and both 16 and 35mm film to HD should look even better. It would be good fun to revisit the tests today to evaluate these improvements. Perhaps we could get some stock and goodwill from some post facilities and get to it. I'm sure my students would be up for the job.
  13. I've had security hold me up while boarding at San Jose airport in Costa Rica once before. I had been shooting in the country since the 80's, this was the first time I ever had problems. The chap wasn't interested in reason. Despite hand checking over 20 cans of exposed 16mm and a number of 35mm cans in a black bag together - this evolved each of us having one arm in the bag and opening each and every can. Great fun with two months of exposed work! And reviewing my carnet, BBC credentials and permit paperwork from the Costa Rican government and the go ahead nod from both ticket counter personnel the AS fellow did not want me to fly. In the end the Continental supervisor had to come to the security gate and argue with him to get me and my assistant on the plane- they were not keen to have to unload my 40+ cases already loaded on board ;-). Today flying with gear is more of a pain than ever. I get incredibly frustrated watching TSA 'professionals' fumble through Zeiss Super Speeds and the like often repacking them improperly. And when you politely request for them to repack the gear because it is fragile and very expensive you're told to stand back and let them do their job of protecting you. And it is out of the question for you to be able to repack it yourself under their watchful eye because thats against the rules, and please stand back, don't cross that line, etc.. They have confiscated countless cans of air, graphite powder, lens cleaning solution and the like. Often I'm traveling to locals where expendable replacements don't exist. These days if at all possible I call the airport in advance and speak to the head security honcho. I try to set-up a time for us to show up so they can inspect the cases. Sometimes they will even give you a private screening if your traveling with enough gear. And I have to say they seem to appreciate a professional approach. This lets them know we are a pro crew and gives them a heads up that we are coming in with 20-45 cases so they don't wig out. In all fairness it seems the right thing to do and I'm sure it has helped me get the gear through more smoothly. The down side of course is we often get to the airport at 5am just to get the kit sorted and the plane flys hours later, but at least the gear is cleared and as an owner/op thats peace of mind. Since Jan 2008 ION batteries have been restricted: http://www.tsa.gov/travelers/airtravel/ass.../batteries.shtm But if they are going to start messing with lead acid power sources as well it's going to cause real problems for production. My other advice would be to travel with as much professional paperwork as possible and let the airline know well ahead of time what you carrying. At the time you book your flight tell them your a pro shooter and you'll be traveling with X number of cases, film stock/tape/cards/drives, and power sources. Ask them to write this as a note on the booking so when you pop up at X airport the agent sees the notes on the screen and they are made aware and can hopefully head off any issues with grumpy AS 'professionals'. Pity but I don't think I'll live to see a time when we can all fly the friendly skys again, it was fun when it lasted but sadly those days are over.
  14. In my view Pushing Daisies is the Amelie of TV. It is brilliant in it's over the top art direction, wide angle cinematography and refreshing direction. It shines out as technicolor visual candy. I was on a panel at the Hatch film festival two weeks ago with David Klein, the 2nd unit DP, he mentioned the bulk of the shooting employs a 21mm Primo close focus lens. Allen Daviau ASC was also in attendance and commented on the quality of the look, lighting and craft. You can watch full episodes via the ABC website and they still look good even via the web on an HD laptop.
  15. Thanks for the note. Sorry I don't have any pictures mate. When we do this type of work we are usually so wiped out nobody thinks of pulling out a still camera. The closest I have is a picture of my assistant Ted Giffords rigging a tree in Costa Rica - it's on my website linked below under Crew Snaps. Ted has gone on to be a sought after shooter himself these days. He is responsible for the bulk of the rigging and fantastic tree shooting on the BBC 'Planet Earth' series. If you want to see examples of tree/cable work I've done visit my Film Clips page and screen the Hotel Heliconia Opening and Autumn Color clips - hope you like them. Good luck with your project.
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