David Auner aac

Hi Anna, I'm not quite sure I get what you are saying. When you use a very wide lens on a video camera, say a 2/3" that would be a 4.5mm lens. And on 35mm cine film you'd use a 12mm lens lens to get roughly the same angle. So what is the difference you perceive here? Are you saying that video cameras generally lack wide angle zoom lenses or that they are too wide? Regards, Dave

Hi Ian, I for one would like to know just that! Care to share it? Else I'll just give these guys a call! Regards, Dave

Hi Saul, that's interesting! Even with shipping, customs and all the other hassles of dealing over the pond. So the US competition must really be quite expensive and/or slow! I figured that it would usually be the other way round. At times the US (particularly the West Coast) seem like paradise for film related stuff. I can't even dream of a store like Filmtools anywhere close! And they don't ship to the EU! Regards, Dave

Hi Brian, forget everything in that price range. Save some more bucks and get a Leica Disto A5 or the Hilti PD32 (IIRC). The cheaper ones are just not good enough and unusable outside or under bright conditions. And forget those red glasses too, they're next to useless! Regards, Dave

Hi Hunter, nobody is hassling him. We all wonder that he is selling his baby after putting so much effort into creating that package. See the forums archives for all his threads on that. Cheers, Dave

Hi Saul, nope. That's not true. 28.7×19.1 mm is called APS-H not APS-C. http://en.wikipedia.org/wiki/APS-C. Tokina's homepage states that that lens is designed for APS-C only. View page here. My guess is that it would vignette wide open on the very wide end, but maybe not above 12 or 13 since the difference between the RED's sensor and APS-C Nikon flavour isn't that large (.7mm horizontally). Regards, Dave

Hi Martin, as sad as this is for my NPR's sister I have to say I'm happy for you for finding your spot on the set. For me, it was the other way around. I always thought of directing but realized over time that cinematography was my place. Sadly I don't have 2,5 K USD right now, that's really a great price for such a nicely modded camera! Regards, Dave

Hi Ergin, one thing I'm still curious about: the Tokina is only meant for DX/APS-C size sensors. How does it fare on the RED? Does it cover all the way to the wide end? As for lenses used in these shots, I'd try around 50 to 75mm on a full frame sensor. You might try a zoom on a film or full frame DSLR when scouting your location and see what you like. Regards, Dave PS: I envy you for that 20/2.8! Nice lens! Is it the MF or AF version?

Hi Ergin, what format are we talking about here? Because your focal length will be very different in 16mm and with a full frame 35mm DOF adapter (24x36mm). Nice kit BTW. Do you own these? And what are the speeds? Regards, Dave

Hi Jack, why not get a cheapish 16mm camera and some rolls of film and learn by doing? A Bolex H16 Reflex can be had for way under 1000 € and a couple of lenses shouldn't be a problem either. After you have mastered the film side go out and rent a pro 16mm camera and get to know that as well... Regards, Dave

Hi Jacob, thanks. What mount is yours? And how did you correct the ffd? Yeah, I figured that the electronics would be rather easy to adapt. What model do you have? I guess it was Alexandros who mailed you the manual? Funnily enough I also made a pdf from his jpegs! :D Cheers, Dave

What mount? Regards, Dave

Hi Saul, yeah I thought so too. But now I found a Locam II at a quarter of the price for the Hitachi. And I do have the manual already, if only digitally! The really nice thing about the Hitachi was the 'native' F mount while on the Locam I'll have to fiddle with adapters from Photosonics to C and maybe to F mount from there. We'll see. Good thing is that the camera cost about as much as I had estimated for a one day rental! And it's gonna be the only workable 16mm Highspeed in my neck of the woods! Regards, Dave PS: Thanks for your sympathy! :D

Hi Chris, which two differing explanations? Pushing and underexposing both increase grain while pulling or overexposing both reduce grain. Regards, David

Ok, I give up. It seems this camera will end up as a paperweight on someones desk or continue taking up space it the store rooms of the local camera store... Nothing. Spent two days calling around. Thanks anyway! Regards, Dave

Hi folks, since my quest for the Hitachi's manual failed (see my other thread here on that) I'm settling on getting a Locam II. The search didn't surface much, so I thought I'd ask you guys anew. How many of you have used this camera or it's brethren? Any caveats? Recommendations? Regards, Dave

Oh, ok. I never knew that tidbit. And I didn't really read the thread starters info. So, firsttimedirector, sorry for that. But you may want to follow the others suit and change it anyway? Regards, Dave

Yes, this forum is real name only! I assume you did read the rules when you joined the boards? Regards, David

Hi, as for the choice of format, you'll have to work that out within your budget, but once you have settled on a film gauge, I wouldn't tell your DP what camera to use. Unless of course you get an amazing deal on one or the other. Additionally, why do you think you need one crew member less when shooting 16? You need to change your username to first & last name as per forum rules. Thanks, David

Hi Boris, did you get my PM? Cheers, Dave

Hi Stephen, that's a really nice collection you have. But you're missing the 28/2! :D Interestingly, I have never heard of a 85/1.2 Nikkor. Are you sure about that? Regards, Dave

Hi fellow 16mm freaks, for an upcoming shoot I'm thinking of buying a Hitachi 16mm highspeed camera from the late 70s to early 80s. It's model is listed as Hitachi Highspeed 16HM. Is equipped with a Nikon F mount and takes 2r film (obiously) has a 400' magazine (nice!) and does (supposedly) 100-10 000 fps. Does anyone have any info on that camera? Or know someone I could ask? Thanks! Regards, Dave

Hi Jennifer, the aperture of the lens is primariliy used for controlling exposure. But when you change the aperture so does the DOF. And as long as the lens is wide open, DOF is the shallowest. It will be quite shallow at 1.4, maybe too shallow to pull focus effectively. Unless you have a decent follow focus and a very good 1st AC. I think you're best off getting a second 50mm, maybe get the cheaper 1.8 in the manual focus version. That lens can be found around 70 Euro around my part of the world. Shouldn't be much more wherever you live. Regards, Dave PS: There may be some way of changing the aperture manually on that lens, but that might require some flimsy jury rigging...

Yes, true that. But on the other hand, one of the heavier Manfrotto heads (such as the 526 or so) will serve you well if treated with care. I have had my 510/500MVB combo for 8 years now, and they're ok for medium weight cameras. It's rated up to 10,5kg but I wouldn't put any long focal lengths on near that limit... Cheers, Dave

Well, there is a slight chance that someone in the art department or the director really likes green, else this is one of the most hilarious bloopers ever seen! Anyone know whether this is really the final version? Seen it on MTV too? Cheers, Dave