adam berk

A high-speed, tungsten balanced reversal would be great. I would love to be able to have access to cross processing in a wider range of shooting situations.

Pro8 (or maybe spectra?) could possibly cut some down and cart it up for you if you sent them some 5245. The 35mm can still be accessible sometimes. I just grabbed 800ft recently from Certified Film.

A few months ago I traded a bunch of 100' daylight spools of 16mm for 400' recans of 16mm at Media Distributors.

Does anyone know anything about this Tevidon 15-150/f2 lens? the ebay.com item number is 220156645456

Stratton camera in detroit may be your best bet if VP doesn't want to rent a camera. strattoncamera.com

Wow, thanks for all that info. Maybe next time I'm in Ohio (december) I'll have to drive out to VP and do the same thing you did with going through their stock if they have any. Was the making of the adapter a pretty involved thing? Do you think it could be something that VP could do for me (or you)? BTW, was that test shot on 7217? thanks, adam

BTW Duall has a set of 9.5, 12, 16, 25 mk1's listed at $5500

Were the cookes in that quicktime the same as the ones commonly found in Arri S packages? If so, I didn't realize that any of them would cover super16. Here are links to the lenses I'm referring to. cooke 17.5 cooke 25

I miss spoke. I realize that I would end up spending more $ with primes, but I was looking at an initial investment of about the same for either a zoom or primes.

Tim, since you owned some Mk1 primes as well, how would you say this lens compares in terms of sharpness? I'm getting ready to start acquiring some nice cine glass for my aaton, and I'm in the deciding phase of whether or not to get a zoom like this, or spend around the same amount on a set of Mk1 primes. I shoot a lot for HD telecine so sharpness is the name of the game for me.

Mitch, have you used a FF with nikon lenses on an Aaton? Not sure which lens(es) you were implying to in your last post... thanks, adam

Do the later generation cameras that don't use the rod adapter, but instead accept rods directly into the body protrude just as far?

Most of the time I use my 24mm/F2. It's actually wide enough to use in a lot of non-handheld situations. It's an incredibly sharp lens. I also use the 50mm/F1.4, which does some amazingly cool things with highlights when wide open. These are both Nikon brand lenses. 80's era (99% sure). If I get time tomorrow, I'll try to post a few framegrabs from a digibeta transfer I just got back from PostWorks in NYC. For extreme telephoto photography I also use a 105mm/F1.8 and a 180mm/F2.8 I also bought a 17.5-70/T2.5 Angenieux zoom from whitehouse which they modded with an aaton adapter (hard mounted). Definitely an affordable lens, but not the sharpest glass around. Don't get me wrong though. When stopped down a bit, it produces some nice pictures. It came from whitehouse in an Angenieux case, brand new. It definitely seems as if it has never been used. I am not disappointed at all with this lens, for the price (under $1000). It covers S16 throughout its entire range. If I can just get ahold of an affordable arri2aaton adapter, I will be able to use the Mk1 zeiss superspeeds @ school while I'm still there, and I'll be set on glass. I've got about 2 years left, which leaves me just about enough time to save up for some S16 format primes of my own. I'm really loving my rig. Coming from a Bolex EBM to an LTR with video tap, etc is a really nice change. The only thing that sort of pisses me off is that I can't use my follow focus on anything but my zoom. On my bolex, the rods started right below the lens port, providing enough room to get the FF underneath the focus barrel of my nikons, which I have focus gears mounted to. On the aaton, the base of the camera extends beyond the lens port far enough to put the rods and FF out of reach from the lenses' gears. The superspeeds don't seem to be any longer than my nikon primes, so I guess I won't be able to use my FF with those either. Does anyone know of any tricks that would allow one to use a FF with primes on an Aaton? I'm assuming that the XTR isn't any different in this regard? Mitch? Nathan? thanks, adam PS: wow this was a long post, apologies Here is my bolex with FF and 24mm/f2 nikkor

I think mine was around 400USD from abel 3-4 months ago or so.

If anyone has an arri bayo 2 aaton adapter they could part with, email me @ adam at b-mp.com I'm looking for the lever-lock one that just goes on the camera and lets you switch lenses as usual. thanks, adam

check out this article at fxguide on "digital touchups" pretty awesome http://www.fxguide.com/modules.php?name=Ne...cle&sid=357

Yes, but from what I've been told, and from my own experience with the older t2.5 12-120, the lens does cover super16 from a certain focal length and up.

Does anyone have any experience with the HEC version of the Ang 12-120? I have an old 12-120 that I simply can't stand. It probably needs service, but it just never seems like it's quite in focus. It's very soft and just never seems to be able to resolve any acceptable level of sharpness. A contact of mine has one of these HEC versions of the lens available for sale at a fairly attractive price, but I'm just a bit concerned about getting another soft lens. Has anyone ever shot with the HEC 12-120? I'd be very curious to hear about your experiences in terms of sharpness. thanks in advance, adam

No. The EBM has a 170º shutter. The RX5 has a 130º shutter I believe, which makes the exposure time approximately 1/65 sec. When you factor in the reflex prism, it makes it an approximate, theoretical 1/80 sec. This is all at 24fps. A good table to refer to can be found here.

Happy new year!

Hey Will, Do you have the ability to post any full resolution frames from that transfer? thanks, adam

I was in Hong Kong, Thailand, and China in 1998 and definitely do remember using bottled water to brush my teeth everywhere I went....also keeping water out of my mouth when showering.

There's a client list on cintel's website. It's a global list so it covers much more than L.A. I'm not exactly sure how up to date it is, but it can be found here. I've been emailing with Ernie over at MovieLab about their new machine. I'm going to try to prep some neg either this week or next to send over for an HD test. They've recently installed a brand new Nova hidef telecine. I've heard and seen many great things about the Nova on the NAB showfloor, so I'm pretty excited to see what it can do with some of my own neg. Details on this machine can be found here.

I'd definitely have to agree with Oron on dropping the 35 adapter. Unless you're getting some insane deal on the adapter rental, I bet you would be able to afford a decent varicam or hdx900 package with a zoom instead. I wouldn't even have to think twice about going 2/3" HD with 2/3" zoom instead of an hvx200 with a 35mm lens adapter. I've done finishing (color grading, graphics) on five or six shows that were shot with the mini35 paired to the HVX200, Canon XL-H1, and JVC HDV, and I can definitely attest to the fact that it just really isn't all it's cracked up to be, especially when compared side by side with a decent 2/3" HD camera with a nice 2/3" zoom lens. Also keep in mind that the HVX200 isn't exactly the fastest camera, in terms of theoretical ASA. Once you strap that adapter to the front of it, you just killed the light sensitivity even more, making it quite difficult to shoot anything in low light situations. It's also pretty noisy, so the inherent noise of the camera mixed with the horrible pseudo-grain from the adapter's ground glass can make for a pretty nasty image too. In addition to all of this, you limit yourself to low shutter speeds. As soon as you go anywhere past 1/100, you run the risk of being able to see the adapter's ground glass in the image, instead of it being just an added layer of noise. I personally like to shoot with higher shutter speeds when I'm shooting video because it really does lend itself well to a "film look". This just isn't even an option when using that adapter. About the adapter's "grain"....it just doesn't fool anyone. Film grain is random. Each and every frame of film has a unique grain pattern. This is the nature of the beast. The adapter's "grain" is NOT random. It's the same piece of glass spinning at a constant speed. This creates a fixed pattern noise that can easily become distracting and annoying. just my 2cents

i havn't used this lab myself, but lots of people seem to love spectra's work. They can be found at www.spectrafilmandvideo.com