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adam berk

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Posts posted by adam berk

    Pro8/45 (EXR 50D)

    in Super-8

    Posted

    Hello.

     

    Does anyone know if there's a shop that still sells this stock? I've enquired with pro8mm, and they don't have any.

     

    Thanks.

     

    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.

    Cheap 35mm shortends

    in Film Stocks & Processing

    Posted

    Barter normally means an exchange of stuff without money, such as I'll give you a basket of fruit for your beautiful lampshade. Do uoi mean don't be afraid to haggle or do you really mean barter, in which case what kind of thing could you swap?

     

    love

     

    Freya

     

     

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

    Zeiss 10-100 T2 Mk1 zoom lens

    in Cine Marketplace

    Posted

    Well, yes and no and maybe.

     

    First off, yes those three Cooke lenses in the film clips also happen to fit the Arriflex 16S, and 16M. They are ARRI standard mount, but a little different than what most people think of when they think of ARRI standard mount. The mounts on these lenses turn when you focus the lens, the whole barrel of the mount turns. I had to make up a special Aaton to ARRI/Cooke mount to use those on the Aaton camera. The 12.5, 17.5, and 25 all cover Super 16 no problem. I assume the Cooke Kinetal 37.5, the 50, and the 75 also cover would Super 16. The only one that I know does not cover Super 16 is the Cooke Kinetal 9mm.

     

    Second, the two lenses you link to on the VP site, the first one is a Cooke Kinetal 17.5. The second one is the wrong picture. Not sure what that lens is, looks kind of like a first or second generation Speed Panchro, but I am really not sure. It is not a Cooke Kinetal 25mm lens like the one used on the clip I posted.

     

    Third, these lenses are really old, like from the 1950's. And they can be all over the map. I got the three that were used in that test from Visual Products, we went through their whole stock and found the best ones. Then I took them all apart, cleaned all the elements, and rebuilt them and collimated them. They are now my babies and by far my favorite 16 mm format lenses. They are sharp and snappy. I have seen lenses of the same focal length and same age, all Cooke Kinetals, and they have looked awful. It is really luck of the draw, and having them gone over and cleaned and set properly.

     

    Best,

    -Tim

     

    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

    Zeiss 10-100 T2 Mk1 zoom lens

    in Cine Marketplace

    Posted

    Adam,

     

    If you can find a set of Zeiss Mk1 primes in good shape for what I'm selling this lens for ($1800), buy them. If you can find a set of Zeiss Mk1 primes in as good of shape as this zoom lens is for the price of this lens and the Super 16 conversion (under $4800), buy them. I'm just afraid that to get a set of Zeiss Mk1 primes (9.5, 12, 16, & 25) in the condition of this zoom lens, is going to cost you upwards of $8,000. Visual Products has a set for $7500, but I would question if they are optically as nice. Maybe they are, don't really know.

     

    I'm not gonna BS you, as a rule of thumb the primes are going to be sharper than a zoom. You can see a brief bit of footage shot with this zoom on an LTR camera, along with footage shot with a Zeiss Super Speed Mk1 9.5mm, and 16mm, and a few Cooke Kinetals, at the web link below.

     

    Footage of this zoom set at 50mm T2

     

    All the lenses were shot wide open, so naturally you are a stop faster with the Zeiss primes. They were set at T1.3 and the Cooke's and the Zoom were set at T2. But it is a very sharp zoom. The link above is to a large file (9.5MB) so give it some time to load. The footage starts off with the Cooke's, then the two Zeiss Super Speeds, and finally the Zeiss zoom I'm selling, set at 50mm.

     

    -Tim

     

    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.

    Zeiss 10-100 T2 Mk1 zoom lens

    in Cine Marketplace

    Posted

    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.

    WTB: Nikon adapter for my Aaton camera

    in Cine Marketplace

    Posted

    Company policy is not to give out prices on the 'net, but anyone is welcome to direct email inquire or call Abel and ask.

     

    Getting a followfocus on is tight but not impossible by any stretch. I always used the Chroszeil, which allows for the gear to be mounted on either side of the swing arm. The gears are also available in different sizes which can help them reach various lenses. I believe I used a 1" gear (.32/.08 pitch).

     

     

    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

    WTB: Nikon adapter for my Aaton camera

    in Cine Marketplace

    Posted

    Adam,

     

    Paul Duclos of Duclos Lenses in LA is an absolute genius with Angenieux lenses. He was the top lens tech at Angenieux USA back in the day, He may be able to get that Angenieux zoom to sharpen up for you. If anyone in the States could, it would be him.

     

    Ran into the same issue with the follow focus on my LTR with the Zeiss Super Speeds. It's very tight with the way the bottom of the Aaton camera protrudes.

    -Tim

     

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

    WTB: Nikon adapter for my Aaton camera

    in Cine Marketplace

    Posted

    Thanks. What lenses are you using on your Aaton? I was thinking about getting som Zeiss ZF lenses.

     

     

    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

     

    post-17218-1190887602_thumb.jpg

    angenieux HEC 12-120?

    in 16mm

    Posted

    Adam,

     

    I may be mistaken, but I thought you told me you had a Super 16 Aaton LTR7. That Angenieux lens will not cover Super 16.

     

    -Tim

     

     

    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.

    angenieux HEC 12-120?

    in 16mm

    Posted

    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

    bolex rx 5

    in 16mm

    Posted

    Ok, so I have a KERN SWITAR H16 RX 10 mm and a KERN YVAR 75mm 1:2,8 lens

     

    Now I think I understand that article talking about the reasons for the RX lenses. I dont think I will have trouble with these two lenses. Is the shutter angle of the rx 5 the same as the EBM ie 180 degrees I think? Thanks

     

     

    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.

    Milleniun vs. Spirit

    in Post Production

    Posted

    Who's running Milleniums in the LA area? The bulk of the TV business seems to be on Spirits.

    -- J.S.

     

     

    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.

    HVX200 VS DSR 970

    in SD

    Posted

    hello

    I'm about to shoot a short film (24 minutes) next month and now i have to decide which camera is better for this project.

    we can't afford to shoot 16 or 35 mm or cinealta

    we don't won't to shoot DV because the film is ment for big screen projection and we won't a higher resolution,

    we will however use a pro 35/mini 35 adaptor and a highspeed set of lens...

    we have narrowed the options to digibeta with DSR 970 or HD with the HVX200 but i'm having a hard time to decide.

    i've worked with both cameras before but only for tv production.

    can you please tell me what are the adventages and dissatvantages of each camera when shooting for big screen.

     

    thanks a head

    mosh

     

     

    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

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