Allen Achterberg

If you're not completely comfortable with judging the color temp by eye, if you have a color temp meter that helps, or do as I and others do, take a still with a digital camera (no flash) or even a video camera.

All The Best!

Allen Achterberg

John,

My best wishes will be directed to you, and your health. You have taught me a lot on these forums, from reading you past replies, and want you to know whatever the case is, I will be thinking of you and hoping for the best! Good Luck John!

Allen Achterberg

Hi Laurent,

 

Pleased to clear that up.

 

So Jan, How many BL II's will you sell me for between 1500 - 2500 ?

 

Stephen

I've got a 35BL II, 1xMag,1xPrime Lens Blimp,1x Battery and Cable runs good and quiet. Very small package...interested? B-Mount*

All the Best,

Allen Achterberg

Is it possible to tell a long-form visual story without DOF??

 

What do think, anyone?

Yes, they shoot a lot of independant films on video, like "Open Water" that had infinite focus throughout the film if I recall correctly.

I'm looking to buy a 35BL Video Elbow. If you have one for sell, please let me know.

Thanks,

Allen Achterberg

Asking $450.00 OBO. Not $500.00

SOLD!

Thank you

Hello,

 

I have three of the Snotter Krudnuts. They're Ok'ish. As I understand it, they are such utility lenses that they are rarely in great condition. They have to be sent off and fully reworked to get good results from them... which can be more cost than they are worth. However, in prime reconditioned shape, they deliver a farely satisfying image. Some people find them a little soft. Yet, others love that slight softness. It may just be a matter of taste. In their defense, they are cheap to own, tough and fairly precise rings. I wouldn't turn down shooting any of my own movies just because they were the only lenses I could afford. How's about that?

thanks for the good reply. I'll give them a shot, see what they do. I just didn't want to shoot with them and have the image coming back looking like a 70's flick.

thanks!

All The Best,

Allen Achterberg

You can see some smaples at RafCamera ;-)

thanks for the link, I'm actually more interested in examples of images taken with these lenses. I didn't find anything on the site that showed footage from them.

Thanks!

Allen Achterberg

Hi

whats the focal length?

BTW i own a scheider 50mm for my 2c I realy used it only once but the picture wasn't good. It is not very sharp as the zeiss I use palanars and sonnars and distagons. They told me tha schneider is good for b+w.

I tryed to give it but none want's it.

the Zeiss Jena is 24mm and the schneider is 35mm. I don't really trust them, so I haven't used them.

Thanks for the reply,

All The Best!

Allen Achterberg

Has anyone ever used any of these lenses?

Carl Zeiss Jena Flektagon's

Schneider Kreuznach Cine-Xenon's

They are in Standard mount, I believe commonly used with the Arri IIB/IIC Models.

Any thoughts? Warnings? What are they capable of really, if anyone has any images taken with one of these lenses I'd really like to see.

All The Best,

Allen Achterberg

Wow!

Good Luck with your quest!

All the Best,

Allen Achterberg

if anyone has any examples of these anamorphic lenses I'd really like to see.

All The Best,

Allen Achterberg

Got it, Awesome David Really appreciate the info.

All The Best!

David,

I wanted to ask you, in I believe the 2nd scene of the move, where we first see Cuba Gooding JR and Helen Mirren, there is a shot where she is leaning forward, and he is relaxing on the couch rather distanced form her, It looks as if you used a Diopter. Is this the case?

Thanks,

Allen Achterberg

thx for your reply

 

i am going to go with arri and 120m magazines.

50 D and both 200 and 500 T vision films.

 

i will need c.pol. filters ... and need to improvise holders for them, or try to get the same size of lens filters.

 

before i do some tests of film, i need one advice.

 

i have one shot inside the car, difference is exp is abot 3,5 4 stops. will the film get details n the shadow of the car interior if i set exp to outside light situation? :) thx

Shoot a test, this will give you a better idea of how the films handle contrast. A test will give you the best idea of what the image will look like.

All The Best,

Allen Achterberg

I actually grabbed that the other day and saw it. I really really enjoyed it! The scene at the bottom with the digitally pushed colors threw me off, didn't see it coming so not only was it visually interesting, but the story was damn good too.

Simply inspirational David,

Thank you for the tech info as well.

All The Best,

Allen Achterberg

The basis of my question is this?

 

Assuming my lighting/composition/etc are good, will a bolex with standard switar lenses give me a good picture when transferred to HD? Can it look at all professional?

 

I'm sure if it was transferred to SD, it could. The smaller resolution might smooth it all out, so to speak. But what about HD? I'm talking 1080/24p.

 

The telecine makes a lot of difference. What would you recommend?

 

I guess when I say "professional" I mean shows like The O.C., Scrubs, Sex and the City, etc. I realize they were shot in s16mm, but how much of a difference did their equipment make? If those shows were shot on bolex's with switars, would it look like crap?

 

Trying to decide on a camera is really frustrating!

 

I've looked into renting cameras, but I'm somewhat confused by all the paper work. Credit applications, insurance, blah blah blah. The only credit I have is from paying back student loans. I honestly feel like I wouldn't be eligible to rent.

 

Anyways, help me out!

 

Jay

I'm not exactly sure what camera gear they use on these shows, there's a reason it's cheaper to buy a bolex than to rent one of these packages for a day. They use much better optics than that of a Switar for sure, think more about lenses than about the camera body. If a bolex is what you can afford, then it's what you can buy. I don't think you'll be displeased, just don't forget the price difference and the optics you are using. You could look for a S16 Bolex, or convert the one you buy. Wouldn't hurt to do a little testing either.

All the Best,

Allen Achterberg

Asking $450.00 OBO. Not $500.00

I bought a 4GB Panasonic P2 card for a project that cancalled, and I must sell to regain those funds. I've only inserted it into the camera Once, it has never had any data written to it, nothing deleted and never formatted. It is practically Brand New.

I'm Asking $500.00,

Comes in packaging with warranty that I've yet to look at, so you get it as i recieved it. Brand New.

If interested, Please messege me or write to AllenAchterberg@gmail.com

If you write to my email account, I'll get it and respond sooner but the choice is yours.

All The Best,

Allen Achterberg

Item location, Santa Maria CA.

I think you're referring to what we call Big TV in the US. If memory serves it's full frame S35. Your rental house should know exactly what you need and change the ground glass for you. When I was working in commercials more often most of them were shot Big TV.

When shooting with a silent aperature the Groundglass you speak of outlines the TV safe area's for the larger frame.

I assume you're just finishing offline, in which case you don't want "pure 24p." Anyway the dvx does not shoot true 24p but I believe 23.967p, and in order to get to 29.97 fps for the DVD you'll follow a 3:2 pulldown, which really just duplicates frames to make 6 extra frames each second. You'll still have the 24 fps motion, but you'll view the results off the dvd at 30 fps.

 

Editing in true 24 fps would be smart if you were either conforming an online or doing a film-out. An online can get messed up if effects and transitions utilize frames that have been fabricated in order to turn 24 fps into 30 fps.

 

If you really want that "film look," it's best to shoot on film. The dvx does a few things to mimic qualities associated with film, but it does not look like film.

 

--by the way, does the dvx even roll 23.967 to the miniDV tape, or does it go through the pulldown before it puts the image on the tape?

Either way you slice it, on the miniDV tape the frame rate is always 29.97fps, the pull down is added to do this. When shooting in 24PA 2:3:3:2 is used, when you capture the NLE removes the extra frames the pulldown created to give you 23.98 (24P)

I'd always edit in 24P to make sure anything added in post matches the motion. Then do the pulldown in AE or your program you use to convert it for DVD, I use procoder2 which allows me to add the pulldown from 24PN source Material.

Good Luck

I hate this , no oher way around it. I am buying av dvx100b . I ve seen the whole debate and I still dont get it.I'm shooting a music video . I had been shooting with simple sony camcorders. But I wanted that film look.I use adobe pre. 6.5 . I plan on experimenting but where should I start?

 

I have been so excited to start filming in 24p.Whats the easiest setting for camera and Adobe . I plan on eventulay saving the video to DVD . Will Adobe edit in pure 24p or is this whole debate senseless .Like I said I had been shooting with small Sony Camcorders .But I really want that soft film look.

 

I know this question has been answerd a millon an one times . Just lookin for a little hand holding .

Heres what Ive done so far .

 

Any help a nice starting point would be nice.

 

http://vids.myspace.com/index.cfm?fuseacti...eoid=1013594267

dvx wont give you a "Soft film look"

Clapper/Loader=The lowest guy on the totem pole responsible for loading film for that million dollar scene. First guy on set loading mags and taking inventory, last guy home after dropping exposed neg. off to the lab.

yeah, or that intern will drop off film. Either way, being an assistant be it a 1st, or the intern is a job full of responsibility, very important jobs. It's a lot of work either way you slice it.

All the Best,

Allen Achterberg

I may be mis interpreting your question, but it doesn't sound like a wide angle lens will solve your problem. If you put a wide lens on, you will see more on top and on the bottom as well as from left to right. If you can, try shooting 16:9, and if you are, perhaps a matte like 2.35:1 if you can. But as I stated, I don't fully understand your question, but from my interpretation it sounds like you have onjects on the top of the frame and the bottom of the frame that you don't want there, and going in tighter won't give you the wide shot you want.

Hope this helps,

Allen Achterberg

Yep, you more or less seem to have the concept down.

 

I do agree with you about the 3 point lighting fundamental. The concept is not a bad one as a teaching tool; I just think it is unfortunate that most schools (in my experience) seem to stop there with the teaching of lighting. It is easy to forget to mention there is an art to this work.

 

They should also teach that you can have single point lighting, or two point, or 25 point. I am not opposed to teaching rules first, but they should also teach that these rules should be broken once you grasp the concept.

Kevin Zanit

exactly, but the problem in teaching the 3 point light setup is that students think that there are rules to lighting. When this isn't the case. As you stated, they should be tought the concept, but it should be made clear that there are no rules, and light does not HAVE to be motivated.

All The Best

Allen Achterberg