Sam Wells

Do labs want to stay in business ? -Sam

Film out to a camera stock. -Sam

I think your expectations for these lenses may be a bit too high. They are not going to have the resistance to flare / veiling glare as more modern glass. The Kitchen shot with the 17.5 does look a bit overexposed with respect to the others, but it might be lens internals as well - shooting into the light source you are flashing the negative in a sense.... -Sam

For burst shooting with my D3 I format each card (Extreme IV Ducati) twice in camera before shooting. And deletions can cause fragmenting, yes. Not quite an analogous situation, but FWIW -Sam

Oops, I thought this was the Lighting Up Forum, my bad....... -Sam

Can you smoke it ? Fog'll give you some motivated spread in the lighting. You can justify some "fill" -Sam

Hi Chris, I guess you may be right. maybe the Nikon D3 with (12 ?) taps on the chip is just doing a fast read ? Wherever the reset "is", I haven't found it. I thought maybe the shutter was hiding it, or maybe it is an effective global shutter. Curious.... -Sam ps not denying the Red has skewing issues (wouldn't deny D90 in video mode either !!)

My Rex 4 FS is a collectable at a great price B) -Sam (I'm bending the rules -- uh oh)

I think the differences are really overstated 200K difference in the target is visible but that's not what you're asking the filter to do, 5500K is a kind of generalization for daylight, there's far more than 200K difference between shooting at noon an 5 PM, there can be 2000K difference going to full shade etc etc -Sam

I'm not so sure - my Nikon w/ CMOS can do up to 9 fps Full Frame & 11 fps DX frame & I see no significant skewing... admittedly higher frame rates there would be mechanical issues with that type of shutter (but a focal plane disk could solve them) but I don't see why you'd have skewing / reset artifacts at say 24 if you don't have then at 10 or 11, just more frames -Sam

True enough, I have Apple Color but don't have the way cool Jura-Capresso Impressa S9 that Shooters does; Davinci Schaminci, dime a dozen, but that is one rockin' coffee machine :rolleyes: -Sam http://www.1st-line.com/machines/home_mod/...so_machines.htm Note it has a render bar ! "2-line Alpha/Graphic LED display with graphics bar that indicates progress of the brewing process." Hmm marked down to $ 2399 Shipping Included......

Now if P&S can do a film recorder at the same price :) As for colorists, honestly if those on Adrian's Low Budget producer list want to keep shooting film, those really commuted, might just have to acquire some of those skills as a survival mode, some boats you have to sail yourself -- -Sam

~ 1 printer light point worth of difference I'd bet You could _breathe_ on the Hue control on a Davinci and turn one into the other -Sam

as I said on another thread, CCD chips for 50MP Hasselblad/Imacon; Leica M8; new Leica S2 -Sam

No don't take anything apart ! Facing the light there is a pin on the right, pull it down and swing the door containing the fresnel lens open. Bring the lamp forward to the spot position for easy access. The EGT or EGR lamp will come out with a twist of the base. Put new one in, careful not to touch the quartz glass as you know. (there is a plastic sheath over the glass on new bulbs. Swing the door shut. -Sam ps make SURE there is NO power to the light, do NOT assume it's off if the switch is off, *every* light I have ever changed the lamp on I personally physically see it is not plugged in, I have never relied on someone saying so etc

I hear you, I know I had that issue at one time........ I wonder who I gave it to ? I think they owe me dinner and drinks at the very least :D -Sam

It's a different bland - or maybe we could compare to "poorly timed 70s film" Looking at a bunch of DVD's lately I've been thinking hey that looks f*** great - then I go oh yeah right it's 5248 :) etc Dunno why EK can't apply T grain and other aspects of V2, V3 technology to formulas that really worked. -Sam

Shutter's a bit tight - can you fool the 5D into giving you closer to 1/50 sec ? White bal issues w/ the neon (yeah I know "d'oh, really?") but I would at least go a bit underexposed if you can't cc, at least the colors won't be in your face (but I suspect your camera can do better than this certainly my Nikon can) . Bar interior I'm thinking one or two battery operated Lightpanels would have de-Reded (no pun) skin tones. -Sam

I dunno, except for the D3 / D700 all have been Sony recently. Sony is only starting to be a competitor, - maybe - and I'm not sure Sony's chip division cares too much anyway. Remember Japanese companies will compete on one hand a cooperate on the other. Also Nikon makes photolithographic gear the others use in chip fabrication so some borders are almost ambiguous.... look at how 2 layer microlens technology has gone from Nikon D3 to Canon DSLR to Canon Vixia in a year.... -Sam

Example please ? 50 MP CCD for Hasselblad etc, they're playing well in the very high end - I guess doing OK in th low end, industrial maybe. Meanwhile it seems to me Nikon Canon Sony are running with the ball -Sam

Arri 16S, very good condition (essentially single owner as I bought an unused camera) ser # 152xx (this is not an S/B). Very well cared for, flawless registration. Sold with: Tobin TM-23 variable speed motor, very low mileage - much better than the stock Arri S variable speed motor (I'll include an old one of those too). Cine 60 8.4v battery belt & power cable; about 10 x 100' rolls shot with this battery. Angenieux 9.5-57 HEC zoom lens; superior to older pre-HEC zooms. f 1.6 / T 1.9 at the wide end. Very nice lens, focusses to 2' at all focal lengths. (This lens does not cover Super 16, but should work with 2/3" model (RED) Scarlet Cinema version camera). $ 1500 for all of above. Bolex H-16 Rex 4 with large 13X viewfinder (from Bolex EL). Camera purchased from TCS in NYC and fine tuned by them at my request for the best image quality you can get from a Bolex. Sold with 10mm Switar RX (not the pre-set, but matches the 26mm quite well) also has Century Aspheric adaptor giving 6mm focal length. 26mm Switar RX pre-set - truly great lens, excellent cond. 75mm Switar f 1.9 OK lens, not as good as the 10 & 26. This is a great package for $ 2200. Will talk re prices. Will throw in a few 100' rolls Vision 2 neg. Contact off list if interested ! -Sam Wells film/ digital motion arts/ central nj/ usa

Barbara Alvarez for Lucrecia Martel's "The Headless Woman" great work (Also kinda makes me want to shoot in Argentina !) -Sam

Did they even make this lens in c mount ? Designed for the SB and SBM (essentially Rex 4 and Rex 5 with bayonet mounts) it would seem. Definitely "RX" Nice lens. The Aspheron is a front attachment for it which gives a 6.6 mm FL if I remember correctly on the wide end -Sam

For it's transcendence and tragedy in the most direct and beautiful terms, for subtle shifts from camera movent <-> montage, for framing as almost religious idea I suggest "Sansho dayu" ("Sansho The Bailiff") Kenji Mizoguchi (DP: Miyagawa) -Sam

Chungking Express (Criterion) -Sam