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Al DeLory

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  • Occupation
    Camera Operator

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  • Website URL
    http://www.afcoop.ca
  1. For FUJI brand film, the stock numbers begin with 85xx for 35mm and 86xx for 16mm. For example, 8592, Fuji 500D 35mm or 8692, Fuji 500D 16mm.
  2. Does anyone have or can anyone point me in the right direction to find any kind of technical drawings or manuals for an Italian-made 6-plate dual 16mm/35mm INTERCINE flatbed editor? An exhaustive web search has gotten me nowhere and the INTERCINE company does not exist anymore as far as I can tell. AL
  3. I'd love to make a bid, if only you would ship to Canada. Any chance?
  4. Is there such a lens that keeps everything on focus, i.e. has no DOF ? Some very wide angle lenses have no focus ring. As an example, I have an Angenieux 10mm f1.8 c-mount I use with my Bolex and an ARRI bayonet mount Kinoptik Tegea 5.7mm f1.8 that I use with my ARRI S. Neither has a focus ring. They're called retrofocus lenses.
  5. Hmmm... your question seems slightly vague... If you are referring to the Arri lightweight rods, there is an adjustment to switch the rods between reg16 and super16. When in super16, I've found that the two small locating nubs on the SRII don't quite fit into the pin notches on the rod system allowing them to seem loose or wiggle... Since I usually either use an adjustable Petroff 4x4 MB or a LW ARRI 3x3 clip-on when going HH, I find that keeping the rods in reg16 mode allow them to fit snugly to the camera body.
  6. Hello, Yes there are still people using linear editors. Specifically, I have an Italian-made Intercine that I need to find a lamp receptacle for. Can anyone suggest a place to find spare parts for this type of flatbed editor? Thanks in advance.
  7. Hello, I have a Panasonic HVX200 that gets a lot of use with our P+S Technik Mini35 adapter and Zeiss primes. This is a rather awkward set-up to use handheld. I've been looking for a shoulder mount system but can only seem to find ones that hold up to about 10 or 12 pounds, and this set-up, with mattebox and follow focus is close to 20 pounds. Any advice or leads on a heavy duty shoulder mount system capable of supporting this amount of weight? Thanks in advance.
  8. I would store the rolls in the freezer and they should be good for many months. I have film that has been in the freezer for a couple of years and have had no problems. Just make sure you give it a few hours to get to room temp before you shoot. Also, make sure the cans are well sealed. If they are new and unopened, they should last a while. Off of eBay though, you have no idea how long someone had them sitting in the hot trunk of their car.
  9. Unfortunately I don't have any pics from my sub shoot... we did it back in like 1994 or 1995 and I don't even have a copy of it anymore. (for shame) My business partner from the project has a copy but we've parted ways since then. A good point that was brought up though was camera speed. I don't recall the actual frame rate we used, but is was definately overcranked. Not to the extreme, but enough to smooth out the camera move since we were not using motion control. And again, the amount of fogging more or less depends on the sub depth you want to simulate. Deeper is darker obviously. Hunt for Red October is an excellent example of dry-for-wet as is The Abyss. The Abyss used extensive motion control and even tiny projectors inside the mini-subs to project the image of the sub operator out of the sub window, frame by frame.
  10. Bjorn, As Chris mentioned, the smoke layer is very important... smooth and even. Deep sub shots don't require as much attention to lighting, but here's a trick for 'shallower' shots. We started with a set-up as described... large dark backdrop, model suspended on monofilament in front and dolly track for smooth controlled movements. Behind the backdrop, atop a stepladder, we placed a large flat tray (like a lasagna dish) with smashed-up mirror pieces and about an inch or two of water in it. We shone a Leico at about a 45 degree angle into the dish of water and mirror and gently stirred the water. This reflected upwards, where we had someone holding a large mirror above the backdrop to reflect the light back down onto the model. As the water tray was stirred, it reflected beautiful fingers of dancing light onto the model from above, making it look like sunlight penetrating the 'smoky' depths. As always, the level of smoke was very important to be able to see these highlights. This ended up giving us some absolutely tremendous shots. Good luck ! AL
  11. It is a manufactured lens and as far as I know has never been disassembled or rehoused in any way. I'm still baffled how this would get worse over time when all other aspects of the lens seem the same as always.
  12. Hello, Recently, my Zeiss Vario-Sonnar 12-120mm, T2.4 Super-16 zoom has shown more than normal breathing and excessive vignetting when zoomed out and at a close focus distance. It has always exhibited some amounts of both, but has seemed to have gotten worse lately. The lens seems fine in terms of there being no visible damage and all rings turn as smoothly as ever. I'm about to get it collimated just to see if that detects anything abnormal as a first test, but could anyone recommend another test or procedure to help in diagnosis? Has anyone had experience with a similar lens showing this type of thing over age? Thanks for any input. Al DeLory
  13. The door hinge on my ARRI 35III has been modified, and I can't swap out the door unless I remove the entire hinge assembly. Any have or know where I can source a proper ARRI 35III (2nd gen) door hinge?
  14. Hey hey, Can anyone point me in the right direction in finding a manual for a Canon 312 XL-S Canosound Super-8 camera? In fact, does anyone know of an online camera manual resource one can access without having to pay for someone to mail me a copy? Al DeLory
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