Allen Achterberg

I sent you an email dave.

Allen

I've got a few items for sale. Please just make an offer if you want something.

Denz Nikon Mount for Arri III with Flange Focal Depth Guage's and Blocks for Nikon PL Arri S mount.

O'connor 100 head with Mitchel Mount.

Arri Standard to C-Mount adapter

Cinematography Electronics Strobe Sync Control for Arri III/35BL and 16SR cameras.

Non-Reflex Bolex 16mm camera with 5mm Prime Super Wide angle Lens.

Have many Wooden Legs (tall and baby) with either Ball or Mitchell Mount. Also have Tripod Ball/Mitchell mount top plates for replacement etc

I really stress Chris Keths comments here. This is serious stuff.

A lot of us would have been more interested in some chart comparisons. It certainly is interesting to look at resolution charts and see what comes of the set up.

usually when I get new equipment, I've already used and tested the gear (this includes charts) and shooting some charts first up is not uncommon.

Most people here would understand the term "Dolly Move" and understand that it was a term, and not two seperate things. example, "Lets rehearse the dolly move" or "the dolly move was a bit rough, lets try it again"

post some pictures of your camera set up. etc, Im interested in seeing it. Good luck with the rig. Look forward to improved results

you are new to this. Everything I've said makes good sense. It's clear.

Rack focus? No. Charts. Shoot some charts.

Color? No grading. Shoot a color chart. compare the adapter. Dont just put the kit together and shoot randomness. learn about what you are gaining and losing by using the adapter.

Just because you didnt get a response you wanted doesn't mean its not constructive. It's not my fault you dont understand what I've written.

I am not looking at anything but the camera results and set up. why color it? share the color that is natural. if anything, its more like you are testing your skills and not the set up. I am not looking at editing or music. (lights?)

or you could wait for someone else to give their feedback.

It's pretty low contrast so Adrian my have pegged this. But to me I'd also say a Fog Filter may have been used, maybe with a Low Contrast filter.

It's difficult for me to be sure of anything really.

Why not mention the description here. I went to view the test and am not familiar with Vimeo or even thought to spend time to look for a description. Just write that sort of thing here. Be less offended. What would you want someone to say after that. "Good Job!" on something that we see flooded on youtube. I mean, I understand it was a one man thing, but if you want people to pay attention to what you are doing shoot something a bit more interesting that a bunch of shots of the same thing.

There's shots that are shaking. you dont see it?

Gear the attitude down. I gave you honest feedback.

Make the Dolly Move AND other shots without the shake. I know the Dolly was moving. Dont be a smart ass. there was shake during the move itself, that what was clearly stated in the previous response I gave.

Test the gear, Let's see some Focus Patterns, some Color Tests etc. Shoot that sort of thing so we can see what the gear adds and takes away from. Thats a test. Lets see the limits. Obviously the DOF adapter is problematic with the grain being so visible on the internet. Lord knows what it looks like in HD or even on DVD.

Personally, I'd like to see how much sharpness is lost from that adapter and lenses, If it handles colors well.

I would not recommend buying a camera. Especially Video unless you are okay with good odds of financial loss. Lenses and Tripod heads hold their value pretty good. Video Camera's do not. Film camera's hold their value much better than video, but finding a buyer is not easy. Especially dont rush into buying. next month something will come out and you will wonder why you didnt wait. Research.

Buy the Best Lenses you can afford, same goes for a tripod head. Those in my opinion come before a camera body be it film or digital. Red might prove to be a bigger head ache than you'd like.

I'd suggest you get good lenses and a good head, and learn how to use them. dont rely on the newest camera body to give you stunning images or better quality. You can do a lot with a little.

If you are taking a loan out for this specifically think very hard about it. dont rush into it.

and Owen, you might find that Film is a little easier to get good images out of! You should at least shoot some film. "Dont put the film an a pedestal"

Hey Adrian,

 

What you just said reminded me of a story that occurred many years ago on shoot in the UK.

I won't name names, but a dp over here was so pissed off with his 1st constantly checking the gate after each take, that in the lunch break he stole his 1st's mag lite.

Together with the mag lite, he took a polaroid camera with him to the toilet.

Stuck the mag lite up his arse and took a picture of it.

 

On returning from lunch and after the first take, the 1st did the usual and stopped to check the gate. He took his mag lite out of his pouch, put it in his mouth and removed the lens. As he was peering at the gate, the dp slid the polaroid in front of his eyes. :blink:

its a good thing you dont name names! Thats really really bad. There are better ways of getting the point across. Maybe the DP just like to put things up his butt. He got satisfaction from it!

22.5-90mm f1.5 SUN-COSMICAR TV Zoom Lens in C Mount

$220 OBO

It's a really Nice Large lens perfect for Bolex or other C-mount Cameras. Zoom Ring Does not slip. In good mechanical condition with a properly aligned zoom. Focus has good Friction. Has a Small chip on front element as seen in the pictures. I dont believe it would effect the image much. It's heavy, around 2 lbs. Large Front Diameter.

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5mm f1.5 Super Wide Angle Prime Lens in C-mount (Elegent brand) In pretty good condition. It's a very wide angle lens, and is pretty big. I have two of these suckers. Both with front and back lens caps, glass looks fine. See images

$350 OBO

Kilfitt Makro Kilar F2.8 90mm in Arri Standard Mount. Iris Ring is loose, but holds its stop value. Focus has great friction. Glass needs cleaning. Oil the Iris ring and you should have a nice lens. Shown with an Arri to C Mount adapter.

$300 OBO

Kilfitt Makro Kilar F2.8 90mm ZOOMAR in Arri Standard Mount in slightly better condition than the previous 90mm. Shown with an Arri to C-mount adapter.

$375.00

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I'm also entertaining the idea of selling this Beautiful Denz set. It comes complete with

-Arri III Nikon Mount and Port Cap

-FFD Guage for Arri 52mm

-Shims

-PL/Nikon/Arri S blocks

I will look into your offers. Every Piece is in Brand New Condition.

If you want the Arri to C-mount adapter, ask. I've got a few of them.

forgot to mention that the Iris does open and close fairly smoothly. The Focus movement still has good friction. To my eye, the Iris looks a little bit off centered though. Its still worth messin with though.

Selling a Kilfitt Makro-Kilar A. F2.8 Macro Lens. Not clearly labeled. Looks to be about a 40mm Lens. It's a Macro and will focus as close as 8 inches from the film plane.

It's in pretty bad condition. The Iris blades have some Rust. The housing could use some cleaning. I would describe the image as soft and chalky. But if you stop down a little bit you may be able to gain much sharper images. Its not too soft however, but much softer than what were used to these days. its fairly old.

$35 dollars plus shipping to wherever you are. Paypal only. Confirmed paypal adresses only.

Lens is in Arri Standard Mount.

Allen

what were you testing? the DOF adapter? go do something a bit more interesting. try to make the dolly move and other shots without the vibration.

Cinematography book by Malkiewics and Mullen is taken.

No more emails please, I'm having a tough time deciding who to share the Manual With. Thank you all very much for your interest, I'm sorry if you missed out on a Book, but don't worry, I have more to share so keep checking!

Best

Allen

I'll messege you each tomorrow and let you know what I've got.

Allen

Arricam book is taken.

I am giving away an 8th Edition ASC Manual (blue) and an Arricam Book by Jon Fauer. I dont want to sell, just give them away. The Arricam Book is still in the wrapper. My Manual is used, but in pretty good usable condition. It sat at the bottom of my Assistants Bag and was used on set often, so there are some loose bindings.

I'm also giving away "Cinematography" third edition by Kris Malkiewics and the Forums own M. David Mullen. It was a good read. In good new condition.

Write me an email (not here on the forums I dont have the storage for the messages) and tell me a little about you, where you are at and what your plans are.

AllenAchterberg@gmail.com

Best

Allen

I've got some lenses in the Standard Mount for sale that cover 35mm. One or two that only cover 16mm. But I also have a Arri Standard to C-mount adapter so you can use these lenses on your Arri and your Bolex!

I dont know what it's worth but if you have a reasonable offer I'd sell any or all of it to you.

Best

Allen

Shooting on the RED digital resulted in a last minuite budget decrease. Shooting digital had not even crossed my mind untill 3 days before the first shoot day. Thanks for the post. Check out the set photos.

 

MitchWhy

Director

On your myspace, your blog states that you are "Now Using the Red Camera for High Budget Productions"

Your DP could have suggested to shoot with S16 format Lenses so you could shoot in 2k Mode and keep wider viewing angles. Also, you need to use your spell check. One or two words spelled incorrectly is ok, not every other word. thats really bad.

Last Minute Budget decrease? At 18 you are lucky to be shooting on the Red. Don't sound too demanding yet. It's quite Obvious you are new to all this camera stuff. Just try to sound a bit more humble about it, and believable that 35mm was even legitimately considered. Not just thought of.

"No more $900 an hour for devloping, no digital transfers, no fear of bad film and errors in devlopment,"

lol, you pullin my leg right? Developing is charged Hourly? I've avoided bad film by buying through legitimate channels and handling the light sensitive material accordingly, and luckily never had any errors during development (god forbid)

I'm sure this happens a lot. I'm not accusing you guys of this, but sometimes Director's Fail to lead. Some are so passive that nothing would get done if it weren't for SOMEONE to step in and make the day happen. If the DP does this out of Ego, then they will learn eventually that it's wrong. Director's often look to their DP's to Solutions and DP's are welcomed into "Making it Happen" and sometimes they need to step in there and do so. I strongly disagree with a DP stepping on the Toes of their Director, But I welcome a Director who trusts their DP to make some Directorial Choices.

Just talk about it. If your DP is causing problems, Pull them aside away from people and talk to them. Privately! Discuss it. Try to make things work for the both of you.

You can remove that jitter with Virtual Dub and a Free plug-in, Dont remember off the top of my head but it might help. Look into Kenyon Gyro Stabilizers. Try to avoid attatching the camera to the wings if you can.

when I plugged in some footage where there's no rolling it looks too flat and not really convincing. I will keep trying though. I can't grab just random jet footage, I need HD and 24p stuff or I'll run into some head-aches, more so than as it is. I'll try giving the fog some texture. Cant use clouds but fog with texture should work.

thanks

No, that answer is a cop-out.

 

You can watch a film for the sake of watching a film - they way a general audience would watch it. You will attend to the story, and hopefully not be distracted by visual issues - good or bad.

 

But as a cinematographer or critic or artist you can also watch on a more visually aware, or analytical level. You might notice composition which contributes to the message - or which is just plain good. Or lighting which must have taken a day and a half to set up, but was essential for the shot to work. Or an elegantly-timed camera move that is unobtrusive, where a cut would have destroyed the tension. That's good cinematography. It is where cinematography transcends the purely functional and adds aesthetic value to the production.

No. It IS Subjective. It is not a cop out. And I feel that I had a good answer to the question, a simple and good answer. Bad cinematography is same.

I put that sound byte in there, thankfully I'm not cutting this one. Ignore my placement of the sound. Can't add clouds, its a foggy location. I've delayed the time and we'll see if it works better.

Thanks Greg,

Allen