adam berk

For Sale: My Super16 Aaton LTR-7 kit. Includes: 1. Super 16 LTR-7 Camera Body with aaton mount 2. Two Super 16 mags 3. Two Re-celled batteries 4. Charger 5. Virtually brand new Cinema Products Ultra T 1.25 Super Speed Prime Kit (12.5mm, 16mm, 25mm) 6. Virtually brand new Angenieux Super 16 17.5-70mm T 2.5 Zoom (comes with original Angenieux leather covered box and screw on wide angle adapter) 7. Two matching roller pelican cases (both virtually brand new) that are custom lined to fit the entire kit 8. Aaton to Nikon mount lens adapter 9. Aaton to Arri Bayonet mount lens adapter for use with the Cinema Products primes 10. Aaton Wooden handgrip and cable 11. Aaton rods 12. Changing Bag The camera body and mags were overhauled by Bernie O'Doherty about two years ago. He also recelled the batteries. A very small number of mags have been put through this system since that time. Very low wear. This is a kit I pieced together during school. Everything is in immaculate, well taken care of condition. The lenses are all in LIKE NEW condition. This is a complete and total, very easy to travel with Super 16 camera kit. Much care and obsession went into putting this together, and I'd love to keep it but I simply don't need it anymore as I'm not shooting much. I've gone into post production, and when I do shoot, it's usually 35. If interested, please send me an email at adam at ct-sf dot com I'm located in san francisco thanks for looking!

Price lowered to $400 USD.

still available

I've got a mint Nikon R10 in the original box with the original manual. It also has the original Nikon metal lens cap, as well as the rubber lens hood with snap in lens cap. I used it for one project after I bought it. I'm including 5 cartridges of Vision2 200T, 2 cartridges of Vision2 500T, and 6 cartridges of Ektachrome 64T reversal. These are all sealed. 4 of the Ektachrome carts are actually still in the fedex box from kodak. I'm just not using it right now, or in the near future, so I'd rather another filmmaker who can put it to good use have it. I will have everything professionally packed before shipping, and will be sure to plaster the box in do-not-xray kodak stickers. I'm hoping to get $550 OBO for this mint condition R10 with fresh film included. I'm located in San Francisco. You can PM me or email me @ adam at b-mp dot com thanks, adam

great work....I want to see the movie

I'm looking for a 9mm or 9.5mm lens with either an arri b-mount or aaton mount. Needs to cover S16 as well. thanks in advance, adam

I'm looking forward to it!

The stuff looks great. I can't wait to see the trailer. Which lens(es) and stock did you end up shooting?

Did you have the electronic shutter turned off in that wmv file? It looks like there is an absurd amount of motion blur. PS: Cute kid!!!

I bought a 17.5-70 from Whitehouse and it's great, covers super16 all the way through on my LTR. It's not much bigger than a prime so I just keep it in the same Pelican as if it's part of the kit. The thing was literally brand new when I received it from WhitehouseAV. I also purchased the 12, 16 and 25 Kowa superspeeds from Whitehouse and according to them, they have the same type of coating that the zoom has, thus color should match fairly well. I havn't gotten the chance to shoot with the primes yet, but hopefully next week I'll do some comparisons.

Is there anyone familiar with the CineAsst video tap for the LTR? thanks, adam

When shooting in 1080p mode on these panasonic cameras to the internal dvcproHD recorder, you actually get more resolution recorded to tape. DVCPROHD/1080 is 1280x1080, thus retaining the full horizontal resolution of the sensor. DVCPROHD/720 is, I believe, only 960x720. About the lens adapter, I always highly recommend against it. I've yet to have an experience with either the mini or the pro that didn't leave me disappointed. It kills a lot of the lenses' resolution, limits your shutter angle/spped options, and adds a layer of noise. My main issue has always been the noise. Since it's generated by the ground glass spinning, it creates this layer of noise that constantly repeats. It is not random like film grain. It ends up looking like you've got a piece of dirty plastic over the front of your lens. Digi-Primes will be much more expensive, but there simply is no comparison to a film lens adapter. I'd also look into a good canon or fuji HD zoom. I've had better results with a 10 year old Fuji SD zoom on an HDX-900 that I have with the same camera + Pro35/Superspeeds. Those adapters are basically the same thing as taking your awesomely awesome HD camera, and sticking it down the viewfinder of a 35mm camera. A video tap made from an HPX-3000 ;)

Post Works New York is worth a call. They've done good xpro work for me. Also, Monaco Labs in San Francisco does a good job.

I wanted to offer up the most simple solution possible. I have done plenty of "zoom-out-from-the-eye" shots, and some of them have been more complex than others. Some of them were shot just as I had described before consulting with us (the post facility). If the pull-out is fast enough, and the compositor applies the appropriate amount of motion blur, an HD or 2k transfer will generally hold up just fine assuming the subject was lit appropriately, in focus, with a sharp lens. I also like David's idea about replacing just the eyeball with a higher res image. This, of course makes the comp more complex but would definitely be worth a shot. It could allow you to start the pull out slowly, then snap back with motion blur.

Don't even bother with the move... Get the neg scanned at a minimum of 1920x1080, give it to your compositor and let him or her add the move in post.