Dennis Kisilyov

Cool. Thanks Kindly for the Info!

Could a Kinor 16mm Camera 16CX-2M be converted into Super-16? (I'm certain almost anything can be converted for millions of dollars). I mean practically, in a easy way, mod the gate, mod the mag, mod the VF, recenter lens mount? Or is it easier to convert an Eclair or CP? Thanks in advance. Incidentally if anybody has one, how LOUD are they, they're not MOS as I understand.

Only thing to keep in mind about DSLR s is that their ISO speed is not more that 100, with Nikon ISO 200 is minimum. Also the sensor reacts differently to light than film does. Also DSLR is a positive RGB, vs Negative CMY, yeah it's sort of easy to calculate from 200 to say 50 speed, but not that easy. :-).

Uncompressed QT transfer takes about 3.5GB for 2:30mins of a 100ft 16mm roll. 1080 4:4:4 zipped will fit about 1 min onto a 4GB dvd disk. I highly advise to go with BlueRay or HD-DVD burners for optical disk archiving. .... There are magnetic data tapes .... DLT drives hold way more, and magnetic seems to last longer than optical for off-site data backups.

Why do you need a tracker? You'll need to mask off a alpha for the areas that remain in color (red in your case). De-saturating the rest. After Monet, you can move to say... Shake or After Effects for compositing.

Read about R. Rodriguez and Sin City. It's somewhere out on the net, they did exactly that, for Yellow and Red. Mokey/Monet http://www.mokey.com/products/monet/ But they Shot Sin City against a green screen/chroma.

I think it would be more with-in reach if the Euro traded 1:1 with the USD. :-(. Same for ARRI and others.... Ikonoscop shoot sync sound?

I though it would be a ...tad.. more complicated that that. I'd hate to end up with tilted footage... Like this one: http://owyheesound.com/web_hosted_cinema/theuprisermbig.rm I guess I'll devise some pattern thats visible under squeeze in the view finder and make sure that it is parallel to the film plane.. I just thought there was some "method" as anamorphic lenses are abundant, (not the sankors, the panavisions/todd-ao and kinor/lomo's) esp. Kinor/Lomo those are front attach for the most part, to regular primes in the NAS (not MAS) configuration. But I guess the method is to just look at it. I thought there was also something about centering the lens onto the same axis as the regular lens, as in dead center of the film gate.

DVC PRO HD. DVC PRO 50 Best would be Uncompressed HD 4:4:4 1080p. MiniDV = evil.

I think we should have merged the two anamorphic 16 threads. But I see you're experiencing the same problem that I'm looking to solve. How to ALIGN the anamorphic attachment with some degree of accuracy so a s not to get that 89 degree tilt/slant into either right or left direction. On a DSLR it's easy to see as you can just zoom in to the final picture. In 16mm the view-finder is small and is distorted in my case (not stretched back into 2.40) so the eye gets tricked into thinking everything is aligned, as the 4:3 image is so stretched in the vertical direction. Most of the DIY footage for anamorphic that I've seen exhibits exactly the same tilting into one or another direction. P.S. First shot is right under Queensboro in the opening, where the Taxi and Limo commision office is? Also through my experimentation, I've found that a 35mm lens will work way better with a Sankor 16-D than a 50mm lens. I don't know why that is.

Just point the lens into the sun/bright lightsource and make sure your film stock can tolerate it with it's exposure latitude.

Hi, Um, here are a couple of interesting things. If your K-3 is well maintained and otherwise not broken than the built in light meter is fine. But don't forget, 1. That is a spot meter for the - Overall Picture, weighted against a greycard. (it is not a 1 percent spot) 2. It was created to run on Mercury Batteries, that have a property of Super Steady Voltage, when they run out they just don't supply any current at all. This is a big problem with all old light meters. - So if you use Alkaline batteries for your light meter, you'll have non-consistent readings as Alkaline batteries have voltage flux, and when they run out, you get less and less voltage over time, not just a dead stop like with Mercury. Zinc-Air and other batteries have less V flux, also are rated at a lower voltage, so you need to "over-expose" a little to get the "0" exposure. 3. K-3 has a clockwork motor, there will be no perfect exposure with the K-3. At the end of the spring wind, you can have an EV of +1/2 a stop due to the shutter opening slower. At like 1/58 sec instead of 1/60 More over, there is no such thing as a perfect exposure. The only thing I can reference is exposing for what you want to see on film, as it sees things differently than the eye. --- About Incident Light Meters ---- Incident light meter tells you how much light is falling on a subject. It is great for normal shooting situations, and will provide you with an adequate reading of light falling on your subject or scene. But: If your background is blown out, an incident meter will not tell you that, if your subject is caucasian wearing black clothing, your incident meter wont tell you that either. On film a blown out background will record as error in exposure, as during the TK the color timer will prob adjust for it. Same with the other situation. Even if you shoot a grey scale slate as reference. Here is where we get to the Zone system and Spot Meters. ----- Spot ----- Usu a 1 percent field of view meter, provides readings from light reflected by your subject into the lens. Here you can see that the 97% white background paper will reflect +6 stops more than your human does. Therefore needs to be replaced with some other paper, or the background light needs to be scrimmed a bit more. Good candy like scenery comes from using both Incident and Spot metering to determine exposure, esp with the Zone system. Sometimes the zone system is inverted into Lux instead of Stops. To see how this works, check out sample exposures on the Kodak website. They provide Spot readings for up-to 6 things in a scene for their motion picture films. --- EDIT --- Also the only way to see exactly what you are exposing is to use revesal or slide film. Negative films and tk or workprinting process will mask 60-90 percent of exposure errors. Even if you request that the Telecine guys "Show you what you shot" it cannot happen as their job is sort-of to "expose again" onto a different media off your negative. - Like a photo print. If you really want to see what you shot, use reversal/positive films.

My Anamorphic provides somewhat of a wider angle feel, also the "crop" factor due to the fact the picture is so rectangular vs. square makes your mind fill in the complete square to on a 35mm M42 lens it feels like a 25mm lens. Odd ehh? I stuck it onto a 80-300mm zoom, I can zoom all the way in and do not have any problems when it's focused to infinity.

I'd be afraid of mounting that thing on my head, It, just like the K-3 and Kinor 16 look like they can snap someone's neck off if things were to go wrong. I'd go with a Scoopic for that kind of stuff. Incidentally, why has no-one made a cheaper 50ft. Super 16 crash cam? And though I would love to support independent camera makers (The non-oligopoly kind..) , I don't know where the 6k price tag for a non-reflex, 100 day load camera comes from either.... EDIT: I take that back, It looks to be about the same size as the Scoopic, yeah I guess it's useful for helmet mount.

I'm guessing this thread should answer a lot about ISCORAMA-54. http://www.cinematography.com/forum2004/in...showtopic=19558 The still you saw were shot through a SINGER 16-D which I believe to be a renamed SANKOR 16-D

Got it :-). If you're set on your shooting ratio and your 1st a.c. want to shoot S16... Then by all means shoot Super 16. If you don't need SFX/CGI- HD DI the cut, finished negative, do a regular NTSC TK Transfer with Keycode for the "workprint/dailies" edit, it will be waaaay.. cheaper. Then from there do your DVD/QT delivery DI the 10 minutes in a Suite, all snazzy, progressive and color corrected.

Josh, Here is a comparison: HVX200 --------- An HVX costs 5,000USD street, buy it, and shoot a couple of shorts. A finished/edited DVCPRO film-out for a 10min short is not as high as it would be for a feature. (Thats new with a P2 card) HVX has a fixed lens, lacking a 1,000 up-to a 10,000 adapter, follow focus and rod support. However you can run miles of footage on it w/o it costing any money what so ever. 16mm --------- 16mm you say you'd rent, which is OK, however the raw stock/film in a 10:1 shooting ratio would be about 100 minutes +/- credits. 100 minutes is 4000ft of film. That's either 10 - 400ft cans, or 40 - 100ft cans. At a average price of $30 USD per 100ft (Kodak) $20 USD per 100ft processing $15 USD per 100ft telecine (Regular SD w. Keycode.) You are looking at spending $2600 for the stock and processing alone. If rental costs for 16mm/Sup-16mm and a HVX are equivalent as you say. You'll spend 2600 more to shoot on film. Supervised HD transfer to do a DI and a Film-Out will cost some more. Your lump sum for DVX-HD vs. 16mm Film is going to be about a 5,000 difference. If you are doing any digital sfx or compositing (Sci-Fi, Horror, Action) .... You're going to do DI anyway. -- If you are doing a simple narrative, it makes no sense to rent a HVX2000. It certainly makes even less sense to rent Super 16 and pay HVX prices for stock. Unless your actors a with SAG, and you have a full-blown crew. - Then you should shoot in 35 and bump the budget to about 50K. EDIT: Also a side note. Budget more for lighting, gripping, good tripods, and sound - more so than just for the camera equipment. Good lighting, gripping, steady frame, and proper location sound is going to make your feature feel 100 times better than just a small bump in resolution or a shallow 35mm like DOF. My 2 cents.

Marantz will prob has better pre-amps for the microphones than the Zoom, while zoom can record 24bit audio, vs. Marantz running only at 16 bits. Khz rates are identical. Those weird XLR connectors are actually pretty standard, they are not XLR, they are called Neutrik connectors. They allow for both 1/4' balanced and XLR 3 pin inputs. Fairly standard on pro audio gear.

Well that would depend whether you already own the HVX200 or not. If the HVX200 is in that 10k, than yeah, shoot with the HVX. 16mm and HVX footage both won't have the shallow DOF of 35 film look type stuff. If you shoot really great work on HVX you can send it for a film-out for the festivals.

I looked at the Panasonic AG-LA7200G Anamorphic Adapter for DVX, it's a 1.3/1.5 (I think) Squeeze, it would be great for creating (about 2.40) on a Super-16 negative. Incidentally it has a 72mm rear, thread or clamp I have no clue. I think the one you posted from 16x9 inc is just Telephoto Adapter. :-).

I'm about to do this with my front-attach 2x Anamorphic Lens taken from a projector. Here are some test shots from my DSLR, Squeezed and De-Squeezed. It's just such a pain to align the adapter to the lens on a K-3, it's much easier on a DSLR where you see the output hires right away. Any idea on how to align a "ghetto" anamorphic lens adapter on the X/Y? (Not the corresponding prisms. Which I aligned already.) But "level" it to the horizon somehow.

Olex has a way better guide for Loading, Manual and Auto for the K-3 Here is the link: http://www.geocities.com/russiancamera/16m...film-manual.htm

Oh yeah, try to do this with lenses longer than 25mm. Extra wide angles out of adjustment may render everything into a blur even with focus racks.

Try to do this, If you feel like burning another 50ft/15m of 16mm film. Place 5 objects on a desk about 12cm apart. Label them A though E. Place your critical focus on C. [The cube in the middle] - Get a focus measurement with tape and in the VF. Run your film and rack/skate focus between C to A and then from A all the way to E. Do the same again from C to E and then back to A. Use the FV and Tape as your references and record everything in a notebook. Distances from camera to cubes. If the camera is somewhat OK. You should get something in focus, though maybe not the object intended. If you do this with different lenses and get the same results in uniform, (like B would be in focus when C is supposed to be the critical focus) then your camera needs adjustment of the lens mount, film gate and viewfinder.

I see at least one of the cast of Minigolf. :-). Noice Set Mate!. TC is going to look close to the DSLR stills but different... way different in the colors and etc... esp contrast between the light and dark parts of the image. EDIT: esp. when you look at the white background and the black clothing on your talent. I hope you used a spot-meter ala "Ansel Adams" kind of a thing.