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Matej Pok

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Matej Pok last won the day on January 14 2013

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About Matej Pok

  • Rank

  • Birthday 07/02/1988

Profile Information

  • Occupation
    Cinematographer
  • Location
    Bratislava, Slovak Republic, Europe
  • My Gear
    Arriflex 435ES, Blackmagic URSA
  • Specialties
    Love shooting film ;-)

Recent Profile Visitors

5412 profile views
  1. Hi Pablo, nice to hear about my old camera :) Besides this Canon zoom, I have got for sale only Zeiss 10-100mm T2, which is not that long as you might need, but it is a cheap lens (1200) 2X TC for this Zeiss zoom (Mutar) is also not hard to find. If you want something really long - Optex has made some Super16 zooms (as conversion from B4) with long end around 210mm, try google it.
  2. I have got for sale Canon 7-63mm T2.6 zoom lens for Super16 features: - PL mount - covers Super16 - 95mm front diameter - close focus 0,6m - sharp even wide open - weight 2.0 kg included: 100% condition Chrosziel zoom damper lens support ring metal shipping case Lens is located in Bratislava, Slovakia, Europe PRICE: 2800 € GALLERY: https://goo.gl/photos/j9baS4to55we48TY9
  3. I have got for sale Canon 7-63mm T2.6 It´s wider brother of that Canon, with better-controlled breathing, and closer minimum focus distance. PM me, if you are interested. I´m from Slovakia, Europe. https://goo.gl/photos/j9baS4to55we48TY9
  4. Hi guys, do you know, if it is OK to send 35mm film to lab without a film core ? I have used Arri SRs, so all my 16mm work had no cores, but I wonder, if it is the same for 35mm stuff. Because there are only a few magazine types with collapsible core. The last I remember is 400ft for Arri 35-3. Thanks.
  5. In first 34 seconds, I would say, you´ve got short loop in loading - that is the thing Aatons don´t like - so jitter is caused by that. But the rest, from 35 till end, is really out of sync shutter. And I don´t understand how can be that done. Shutter and pull-down claw are mechanically connected with main axle from motor, so you can´t move them out of sync by yourself. Maybe try to shoot another short test, with a little bit bigger loop, and you will see.
  6. Hi, I´m using set of Sony Cine Alta 4k primes on Arriflex 435 with great results. They are T2 lenses in whole range and extremely sharp wide open, so pairing with lower sensitivity film stock is very nice.
  7. Now, in digital days, it´s maybe good to start with cheap Canon 5D mk.II and three fix-focal lenses and a set of ND´s. You can buy it for 1000 dollars, and start to shoot. Shoot, edit, project and hear the critics. Then repeat. And then, if you want to move to shooting on film, one or two years later, you can buy cheap 16mm camera and start to learn that craft. Digital is great for beginners, but I would stay away from iPhone (however it is a great tool), but something like 5D with manual control over everything, is import for understanding and developing your skills as filmmaker. Even if you would like to be director, you should understand basic technical and visual principles.
  8. Hi, a small film lab Bonton in Zlín, Czech Republic is still doing negative / positive development in 35/16 and also contact printing. They dont have good website, but they work on daily basys. For example - every wednesday they are developing ECN2 films 😉 They offer Arrilaser, but no scanning service. http://www.bonton.cz/film-laboratories.html
  9. I keep my film always at -18 degrees Celsius. I've been told by the most expert for film postproduction in our country, that in those temperatures, the aging of emulsion is so slow, almost negligible. When I want to use it, I simply put stock from fridge to refrigerator for one day (when I have time ahead), or in emergency situations I just put in on a desk (+20 degrees Celsius) for a 2 hours a then load the magazine. I have done this procedure many times and never have any issues with frozen gelatin or whatsoever. I have stored exposed stock in refrigerator for a couple of weeks (6-8) and scanned image has been great! No lack of contrast, or anything. Also old stock is fully usable, just overexpose it a bit. I use to rate fresh new stock 1/2 EV slower (for better saturation), 2-4 years old stock 1 EV slower, and even older stock about 1 and 1/2 EV slower. Film stock can easily handle overexposure. I've seen accidentally overexposed whole roll of fresh stock by 2 EV stops (wrong rating in exposure meter), and nobody in scanning room can see the difference from other rolls of project. Nothing was blown away. So don't be afraid of older stock, just rate is slower and give it a lot of light.
  10. Hi there, I have got one D21 too and I love this little camera! Optical viewfinder with Arriglow is absolutely fantastic thing. You can even follow focus with it easily. What I like is how good white balance system works - camera is in changing temperature (like from -5 to +25 Celsius), there is infrared polution, sun is changing - you just hit 5600k and it still looks, as it should look like! Although, we all know it is not just fixed at 5600k, but it is constantly shifting a little bit. I don't know how it's done WB in Alexa, but on RED's and Blackmagic's cameras it definitely don't works like that. The dynamic range (10 stops) and ASA 200 is a little drawback in 2017. And with sensitivity, for day exterior I rate it as 200, but for interior I use 125 or 100 rating for better noise floor. Have anyone used anamorphic viewfinder with the camera ? I'm trying to buy one for years, but that thing is no-one selling. I don't know, if it's the same viewfinder as for 535 (Arri AVF-1), or it is some special piece ? Also I can't attach optical videoassit from my 435, there is some small missing piece to connect video camera (attached to the viewfinder system), to the side unit (Arri IVS-1), could someone help me with these ?
  11. Hi, for sale is Canon 7-63mm T2.6 zoom lens. Serial number is 10303 (so it's been made around 2003) Lens is very sharp, even wide-open, has no noticable breathing when focusing. Lens is designed for Super16 image size, film or digital sensor. It has Arri PL mount, and 95mm front diameter. Lens has got installed Chrosziel damper for fluid zooming. Lens is in mint condition, with minimal signs of usage on barrel and absolute pristine glass. Comes with lens support, both caps, in custom metal case. Footage ------ I live in Bratislava, Slovak Republic. Shipping only to EU. PRICE: 3300 € + 150 € shipping. ------ PHOTOS
  12. Hi, I've got for sale my trusted Super16 camera kit. I've bought it in fall of 2010 from Mr. David Odd. as his personal camera. He had it converted to Super16 by P+S Technik in 2008 and had installed color video tap by Visual Products, inc. Since 2010 I've shot with this camera about 10x 400 ft of film. Here is footage What's in kit: Arri SR1 Super16 camera, 180 degree fixed shutter - HDTV 1:1,78 gate (brighter, from SR3) - Visual Products color video tap PAL - PL mount - wideangle PS Technik eyepiece (made by Voigtlander) 3x super16 magazine 1x spare magazine (not converted to super16) 1x SR3 magazine (with TC) LWS 15mm support rods (2x) Arri BP-7 base plate (for 15mm studio) CE - Precision Speed Control 2 (for other frame rates than 24 fps) Arri VSU - variable speed unit (not as exact as CE) 2x 12V old batteries (as spare, needs recelling) 12V NiCd charger 12V discharger handle, incl. remote switch --------- I live in Bratislava, Slovak Republic. Shipping only in EU. Price is 1700 € + 150 € for shipping --------- PHOTOS
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