Dennis Kisilyov

ApeCity.com Cinema Camera Manuals Here is the EBM H-16 Electric Manual in PDF. You'll need Acrobat Reader. http://www.apecity.com/manuals/bolex_h16_e...tric_manual.pdf

Sorry that this thread got hijacked into a telecine thread. But. I inverted the pull-down. As all standard NTSC transfers run the film just a tad slower (23.98) you get an even 3:2, I analyzed the clip and it fit 3 normal frames 2 fielded frames. 4 clicks and I have a .rev file running at 23.98 that's without pull-down artifacts. Now I'm playing with the footage in CinePaint (aka Film Gimp).

But then there is no pull-down. Pull-down would be matching 29.97 fps of NTSC to pure 24fps of film via 3:2.... If there is no pull-down there is no half-frame. Unless your pulldown is 2:3:3:2 with real frames encoded in a higher fps DV program stream. That makes sense, next time I do this I'll ask for that. :-).

200T oops. Yeah 250D is not it. Kodak - 7217 Number. 100% tungsten balanced film. Somehow got crossed in my head with Eterna 250 ... ...... Tim, how does one remove the 3:2 pull-down, is there a re-code option in FCP/Avid?

I am guessing the interlacing came in from the transfer from Digibeta to Quicktime uncompressed. I don't have a 20k deck to read Digibeta so :-(. I should have done an unsupervised HD and given the post guys a firewire, but I did not really know what I wanted, this is my first roll of film shot. I most def underexposed 3 of the shots, the meteor f-stop skated to f4 from f2. :-(. Apparently it does not "click" just moves. For my first roll of film I'm taking the lessons learned from it. But I got alot done. I shot for coverage, tried in-camera (adversarial angles) video style, saw how hand held worked, check res and flicker with different available light.

CU of LCD Display (checking flicker) was a 135/28 Chinon Res Chart NoName - Zoomed in Meteor 28mm was a Vitiar f2.5 50mm was Chinon 1.7/50mm CU of Monior Speaker Speaker (checking flicker of CCFL) 135/28 Chinon Outdoors 1 17-69 meteor, close up of Girl Speaking. Outdoors 2 17-69 KMZ Meteor - all shots. Outdoors 3 Police Car + Train - 50mm Pentacon f 1.8 All was shot on a K-3 that had issues between the ground-glass/viewfinder and real film focus.

http://www.djdecay.com/cine/DecoyTest.mp4 Vision2 250T

I had some footage on Tungsten - that was shot in daylight - corrected in post, and some shot with a 85A and 85B. I prefer the look of the Real 85A - not the one added in POST - though it looks similar.

Pentacon Rocks!

Out of 45 lenses with pins that I have, the aperture PIN will drop down as the spring holding it out will dis-engage (the pin is in free motion), you can see this from the photos I've posted. The times it did not I had a dysfunctional lens aperture mechanism. Also the M-A switch can be caught by the aperture ring that is close to the lens (another dysfunction), and engage AUTO during filming. EDIT: Actually the PIN being stuck is a chief complaint about these lenses on SLR's, that means during exposure the PIN fails to engage the aperture in time. Thence it needs to be fairly loose.

No.... Good Mic's are Usu MONO. Don't let the 3 pin connectors on the MIC confuse you, Those are "balanced" mono connectors. With that being said, Click this link, i think it's identical to your question. .... http://www.kenstone.net/fcp_homepage/revie...otgun_mics.html Also factor in 1. A boom pole - and or - 2. A shock mount so as not to transfer sound from your cam/boom to the mic when mounted on either. 3. One of those fuzzy windscreen things.

If the room is really black, and the spot is low and flagged where it will not hit the background you should be fine without doing chroma key. Think of all the dark scenes in movies with a campfire or forest, if it's not lit, it will not pick up the shadows of real black walls that much. However make sure to fix it up with a prof color timer. The chroma key will look worse for this, most replace chroma with a brighter background than jet black. Also remember to create a lot of stops of contrast between the lit subject and background, - use more light than what you'd normally use. I'd say 6 stops of contrast on you 1% spotmeter is ok. 1 or 2 stops is not ok at all - it will come out dark gray.

No clue actually. I've heard people suggesting using Leader that your local processing place can give/sell to you. Also pick up a few daylight up-take spools for it (while you're there), processed neg's usu come back on a core type spool so they have oodles of those laying around. What I used was real film :-). Dektol type 20 year old Kodak RAR. :-). But beware those films can be thinner than todays Kodak or Fuji stock which is harder to wrangle, especially in total darkness or where you cannot see it (e.g. changing bag.).

Troy, Thanks so much for the info. It helps a lot! Thanks again. -DK

For me the registration was so steady I though it was a larger neg. size. Grain at 500 speeds can be evident even in 3perf, it did not look anamorphic, yet it was wide screen. I heard the camera making a lot of noise, hence I did not think it was a Arri SR , yet was too steady for any other Super 16mm cam. My assumption was that it was a modded old-school 35mm to 2 or 3 perf. That would explain the HUGE amounts of noise. As 35 should sound louder than 16. Why this got shot on ISO 500 in a sunny day, I don't know.

Many M42 lenses have a M->A switch, your lens needs to have this switch to be use-able in more than wide-open mode on a K-3. Also some lenses have an additional Lock Pin, those will be out of focus on the K-3. Here is what a Manual/Auto switch looks like on a lens. Manual. Auto. When in manual mode, the aperture pin will go down, and become in-active, if this does not happen, your lens is broken.

Post some stills!!! ....................... Please. :-).

I would have posted this in a Camera specific forum... but I think it applies to all lower priced HD cams. Here goes a series of daft questions from yours truly. 1. Are all these 35mm/Cine lens adpters basically a ground glass which delivers the picture through the non-removable HD Camcorder lens like the Sony Z1U and HVX200 from Panasonic. All the websites from micro35 and M2 are not specific about how these boxes in front of the lens work... 2. Is there any Cinema-like footage/shorts shot with-out these adapters in the Critique forums? From the 5k and under HD Cams? JVC/Pana/Sony? 3. What are the benefits? The CCD/CMOS sensor sizes seem to match 16mm and built in lenses are fast enough to handle semi shallow DOF. 4. Will non-adaptor and adaptor footage intercut well (not in the same scene/sequence)? Or will it look so different from the ground glass adapter vs. just with the built-in lens that the audience would notice. Not just in the same scene, but different scenes/sequences. In film world that would equate either using different stock in different scenes, or a B-camera thats different from A-camera. 5. How many stops of light do these things loose? Even if using a T1.3 it would seem that the Adapter + Built in Lens would take out about 2-3 stops more making them hard to use in Low Light situations.. Sorry if this has been answered before, I searched and found many discussions on merits of one vs. the other. Not too many about general function of such devices. Thanks in advance. 6. If it is a ground glass, how often do you have to clean it so that you don't end up with dust in the frame?

Federico, what you are referring to is digital noise reduction. For it to work you need the following. 1. Sound of the Camera Running w/o any dialog/speaking (from the same MIC position). 2. Sound Recording of the Dialog and Camera Running. With the two you can "scrub" the sound out. It helps to record in 24bit/48khz or better and to use one of the following programs. P.S. Using too much of this noise reduction creates "ring-modulation" synthesizer artifacts. Combined with a 4-band EQ you can get it down to a minimum, but not remove it all-together. ADR (Automatic Dialog Replacement should help.) Here are some products that perform this function. 1. Adobe Audition (Used to be Cool Edit ) - Noise Reduction Menu (Pretty Decent) 2. Apple Sound Track Pro / Logic Pro - Audio Units Plug-in. 3. Digidesign/AVID Protools DINR (Inteligent Noise Reduction RTAS plug-in) 4. BIAS Inc, Sound Soap 2 and Sound Soap PRO (Audio Units and VST) 5. Sony Pictures SoundForge/Vegas Noise Reduction plug-in VST and DXi. Also you may need a decent Audio Units, RTAS/TDM or VST 4 band EQ. Sony GML EQ seems to be the most precise to RTAS/TDM and Audio Units. Pushtec EQ or Waves EQ is good if using Native/VST or other Windows Stuff without Protools. Non-withstanding your room ambiance will be removed along with the camera noise. But you can fake it with Convolution and Impulse Reverb Plug-ins. Hope it helps. Best is to wrap the camera in carpet/jacket/blimp and hold the MIC far away.

Are you using a Nikon F/AIS to Bolex Bayonet C-Mount adapter of sorts? I'd love to see pics of your Nikon F to Bolex adapter too....

Brian, did you transfer this at 1080p or something. Does not look like Sup-16 telecine... You got this with a Bolex EBM.. Wow.

Could you expand? Is there something in the numbers I'm not seeing? Or are you commenting on the fact that I don't have another wide-angle lens to compare the 28mm vivitar to? However I rounded out what would be "pseudo 28mm" with the Meteor 1.9 as comparison. I do have a 28mm Spiratone, but I looked through it via the ground glass and the internal reflections made my chart look like "new war of the worlds" hazy/halated look - I decided not to kill the film on what I knew was going to look very bad anyway. Zeiss Flektogon Jena 20mm F2.8 MC is available for the M42 mount. Though commentary is that the F4/20mm Flektogon is the sharp one. I'm wondering when they'll release the 25mm 2.0 for ZS mount. I'm still looking for the 17mm Belomo (vs. the 16mm) supposedly the bokeh on that prime is super (but it is rare). Ah nevermind, I've re-read it, and what you meant is I am not in possession of any wide angle lenses vs. not too many. vs. wide angle lenses would not be any more accurate than the results I have as the numbers indicate some sort of a general fault.

In consensus with David Mullen. MOS/Timelapse Cheap 35mm with tweaks and mods are ARRI 2C Konvas 2M

I've just completed viewing projected results from my K-3 lens testing v2.0. Here are the findings. I shot a ISO-12233 chart at 4:3 at a distance that would fit the entire chart. I only go up to 10points in resolving power on both vertical and horizontal. Collimated Meteor 17-69 f1.9 @ F 1.9 - 7+ @ F 2.0 - 8+ @ F 4.0 - 9 @ F 6.0 - 10 *BEST* @ F 8.0 - 8- ( I guess it start to loose it sharpness after f 6.) Uncollimated Meteor B 17-69 f1.9 @ F 1.9 - 8 @ F 2 - 8 @ F 4 - 8 (Lower sharpness at zoomed-out distances) Super Takumar A 50mm 1.4 (not SMC) - Honywell Branded @ F 1.4 - 5+ @ F2 - 6 @ F4 - 7+ @ F8 - 8+ Super Takumar B 50mm 1.4 (not SMC) - Asahi Branded @ F 1.4 - 6+ @ F 2 - 8+ @ F 4 - 8+ @ F 8 - 9+ Zeiss Pentacon 50mm 1.8 - MC @ F 1.8 - 7+ @ F 2 - 8+ @ F 4 - 9+ @ F 8 - 9 Ricoh Rikkenon 1.4 55mm - MC @ 1.4 - 6+ @ 2.0 - 8 @ 4.0 - 8+ @ 8.0 - 9 Vivitar 28mm 2.5 - Non MC @ 2.5 - 6+ @ 4.0 - 7 @ 8.0 - 8 And the Winner ...... Mamiya Manual 55mm 1.8 ver A. @ f1.8 - 8+ @ f2.0 - 9+ @ f4.0 - 10 Apparently the GDR Pentacon and Manual Mamiya/Sekor together with the Du-All collimated Meteor Zoom seem to be very sharp. I don't have to many wide angles for M42 to try. I have a 35mm Flektogon MC and a 50mm Pancolar MC GDR on the way to try.

My recommendation would be to shoot 35mm. Equipment for high quality production will cost the same, the only thing you'll save on is film stock. Which is not that expensive compared to other operations you'll be doing in post. This way you can DI/scan only some of the footage like titles, sfx etc... For 1.85 non anamorphic in 35mm or Super-16mm you should be set. (Though after DI/Blow-ups) you'll pay $$$$$. If using 2.40 (2.35) you should use 35mm and anamorphic lenses for your origination. The neg area in Super 16mm after a 2.40 crop will be so small there will be barely any information left in the frame.