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Ernie Zahn

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Everything posted by Ernie Zahn

  1. I found an old (perhaps 1930's) DeVry box camera at my parents house. Very simple design: a viewer finder on top, footage counter, c-mount lens thread, with a 100 ft capacity. I was thinking of taking it for a spin just for the fun of it. I was wondering if anyone has an idea or a best guess on what the shutter is on it? Close to 180? I wanted to get a sense when metering. I know it's a basic camera I just don't want to be so far off with my exposure that I get washed out footage or something too murky. Thanks!
  2. Interesting. Thanks for the input. I guess I'm curious because whenever I start a new project I wonder if I'm working fast, taking too much time, etc. I'm surprised sometimes when some films manage to get their shooting done on such a tight timetable and others work on much larger ones. I know that every film is different and genre or even director can't be an indicator of how long it takes to make a given film but it's the first question in my head when I start planning a new project.
  3. Is there a "ShotOnWhat" equivalent that serves as a database of how long films took to make? I only ever hear how many shooting days there were for given film based on commentary track, it gets mentioned in an interview and like. Trying to google it doesn't seem to help unless I'm not using the right search terms.
  4. Hi Michael. Thanks for the input. I guess I can see where some purists are coming from. I ask because I was going to shoot an upcoming project in anamorphic but I was debating between that and just cropping. I've been composing a lot of shots with that framing. And Phil, I believe it was shot on the Alexa XT Plus. I saw it in IMAX. But I guess the 2D showings were cropped to 2.39 or 2.35?
  5. So, I know there are many ways to achieve a 2:35 aspect ratio but I'm particulatly curious how many major motion pictures shoot at 1.78/1.85 or some other aspect ratio and then crop to 2.35. Further I've met some DPs who roll their eyes at that method vs using an anamorphic system. Why is that? I know it means shooting more information in your frame and then cropping out some information but isn't using lenses, camera movement, angles and other things intended as a means to show the audience what they need to be looking at? Isn't the frame you compose your picture just as important? Is it because its looked at as the poor man's version of a true cinema wide experience?
  6. Cool! I'll give Warp Stabilizer a try. Looking forward to seeing how it turns out. And David, would love to see those comparisons!
  7. So, I know you can't totally stabilize the image, but I was wondering if anyone had experience with a post solution to stabilize the jumps that can happen in Super 8 footage. I just want to fix the pronounced ones - the ones that distract from the viewing experience. Any suggestions? I tried smoothcam in FCP 7 and it has a hard time analyzing them. I'm going to try DaVinci and After Effects next. But if ya'll have a good idea to save time, that would be much appreciated.
  8. They said one shipment arrived yesterday and another arrives on the 1st. They also said, they can't be sure how many are coming in or in what condition. "What condition"? Perhaps suggesting that they are so severely rushed that they might be defective? Or perhaps Blackmagic will be so desperate to get them in on time that they will literally throw the cameras through the plate glass window from a speeding van like a newspaper delivery. :rolleyes: In either case, the customer service at B&H said don't bank on my order being processed with yesterday's or Friday's shipments. He didn't say it was impossible, he said he just didn't want to get my hopes up. So I guess he needed crush them just to be on the safe side. :P
  9. I first ordered it at the sale price from a 3rd party on Amazon and they canceled our order because they decided they took more orders than they cared to handle. Then I jumped to the next place I could think of which was B&H photo. As soon as my Amazon order was canceled I immediately ordered one with B&H. They first said 2-3 days, a week later it was 2-4 weeks, as of this week it is 4-8 weeks! Production starts Sept. 3rd which is why I'm thinking of canceling and just investing more in the BMCC I already have. I'm a little disappointed. B&H has said I'm still secure with my place in line but as the days pass, it doesn't feel like it. Did Adorama give you an ETA?
  10. Thanks for all the helpful info, I'm definitely going to invest in a metabones speedbooster. Just as an update I ended up ordering the BMCC, I have a family of excellent condition and fast Rokkor lenses with an MD to EF adapter. And I just bought an old 16mm cine lens. As well as a few other things for the rig. I'm going to get an external battery soon. I've been messing around with it and it's looking very nice. I also ordered the BMPCC on that $495 sale, pretty much on the first day of the sale but I'm back ordered to September, which will make things tricky for my project. I may just stick with one camera and put that $495 toward a speedbooster for the BMCC. Again, thank you all. This has really helped the research and decision making process.
  11. I just got a Schneider - Kreuznach Optivaron f/1.4 6-70mm. I tested it out, it's very clean, appears to be fungus and oil free. Aperture opens and closes BUT the aperture ring is very loose. I believe this lens came off of a Beaulieu 4008 camera and it's ring loose because when mounted on the correct camera features auto exposure. Is that about right? I was wondering if there was a way to make the ring more secure. I like that it doesn't click and that it's smooth, but I'm worried if I set it to like f2.8 the slightest movement will knock it out of place. Anyone have experience using these old lenses on cameras they weren't built for? Btw, I'm using this on my BMCC.
  12. I'd love some feedback on this. Does anyone know what the general sense is of filming guerilla in Paris? Would I be able to have a full rig with me let's say on Pont Neuf or in front of Notre Same without getting hassled if my team is around 4 people using a clearly non-tourist camera? Or should I save the rig for more discreet locales and stick with something smaller for the higher profile places?
  13. Awesome! Thanks for all this help info folks. My budget just got an $800 increase. Now I'm wondering if it would be good to aim for the regular 2.5k cinema camera. I already own EF lenses as well as an EF to T-mount adapter for some old manual T-mount lenses. I'm wondering if this might be better move to get to a working kit rather than investing in a whole new lens family with MFT?
  14. Hi all, I have a project coming up and I want to upgrade my equipment. I'm looking at the BMD Pocket Cinema Camera. I'm liking the reviews and videos I've seen on YouTube. I'm new to the world of MFT, I have a budget of around $1600. I'm going to get an adapter for my EF lenses but I was thinking about getting an MFT as well. Something with image stabilization would be great. Will mostly be using the lens for medium-close ups.
  15. Selling my B&H 2148. Pretty nice lens. Runs jus fine and no major cosmetic issues. Feel free to send me an offer! Here's the specs: marketed in 1978 design: 2148 silent super 8 cartridge lens: B&H Zoom f: 1.2 \ F: 7.5-60 mm zooming ratio: 8x focusing: manual macro focusing: yes zooming: auto (with 2 speeds) and manual filter size: ? viewfinder: single-lens reflex with adjustable eyepiece viewfinder information: ? exposure: auto and manual exposure control; TTL Electric Eye,CdS cell film speed: auto for 25/40 and 100/160ASA (daylight/tungsten) CCA filter: built-in 85A filter, with filter control switch filming speed: 18 fps, slow motion (approx 36 fps), single frame shutter opening angle: <180 degrees backlight control: yes exposure compensation: +/- correction for auto fading: auto fade-in/fade-out sound: no remote control socket: yes cable release socket: yes movie light socket: no film counter: yes handle: fixed, chamber for penlights batteries battery check button: yes film drive motor: DC micromotor power source: 4 x AA batteries only weight: circa 1200 g dimensions: ? tripod socket: 1/4"
  16. I've had this camera for some time. It's seen a lot of miles but these things are built pretty well. There is a slight dent on the rim of the lens but the glass perfectly fine. And the thread is perfectly fine for adapter rings. The dent does not effect the use whatsoever. It does, however, need to be serviced. The motor isn't broken, but as I say it's seen a lot of miles. So it's just warn down. I brought it to duall camera and they said they could tune it up good as new. But I don't shoot Super 8 that much anymore so it's not worth the investment. Comes with a battery pack, camera bag, and manual. I paid $350 for it when it was in pristine condition. I don't remember what the cost is to get a tune up but make me an offer. I'm motivated to sell. The specs: Lens: Schneider Kreuznach 7 - 56mm (8x zoom) - f/1.4 Macro: from tip of the lens Rangefinder: split-image Shutter: 200° XL ASA (daylight) 25 40 64 100 160 250 400 ASA (artificial) 40 64 100 160 250 400 500 640 ASA notching: 6-pin Built-in filter: 85A (auto release = 1-pin), man. cancellation possible Film speeds: 9, 16 2/3, 18, 24, 25, 36 fps slow motion, single frame Remote socket: yes Power source: 6x AA size batteries Tripod socket: 1/4 inch + 3/8 inch Special features: time lapse, lap dissolve, exposure compensation, running lock, black finish. Thanks!
  17. Thanks for all the feedback. Yeah, I noticed that:-/ The more research I did as to what I'd need, the higher the price got. Cool. Yeah I noticed that they go for about $10-$15k depending on what's with it. I'm definitely considering it. What are your thoughts on the Blackmagic Pocket Cinema Camera? It's only 1080p but the Blackmagic site says it records in RAW and ProRes. I think I could live with the resolution since the bitrate and color will still much better than my DSLR. Though it doesn't shoot at 60fps. I might be willing to use my DSLR specifically for slow mo shots. The thing that interests me about this pocket camera is that I can buy two and have a lot of budget for lenses. The used RED ONE pretty much hits the ceiling with my camera budget for this project. Despite it also being 1080p, is this a great jump? Or should I try out the 2.5k Cinema Camera?
  18. I've been shooting on the 550D, 7D, D700, and other DSLRs. I definitely enjoy shooting on them but I'm working on an indie film soon. I was looking at getting the RED Scarlett-X. But it's a big jump in price even though it is the more affordable of the REDs. So I'm wondering, what's between the DSLR world and the RED? I was looking at the Blackmagic 4k Cinema Camera but I keep hearing over and over again that it's best feature is the price. Additionally I keep hearing that it's better suited for things like documentaries and the like. I don't want to upgrade to 4k if the blackmagic camera is pretty much my DSLR in terms of limitations. My main issue with DSLRs is the H.264 compression for recording, which creates bitrate and color space woes. It looks fine on Vimeo but when I project on 15 feet or larger, it tends to look displeasing. Especially with shots that have a lot of different AE filters on them. Though I hear the Blackmagic camera records in ProRes which is fine with me, even if it's not raw video. Is this camera my middle category between DSLR and the RED? Thanks in advance!
  19. Awesome! I wasn't aware of this. Nice work!
  20. Perhaps my emoticon wasn't making it clear that I wasn't serious. There's no way any amount of stock I buy could produce that kind of influence.
  21. It would probably be three perfs across.
  22. I was just pondering this and id be interested to see what people think. If anyone isnt familiar with VistVision its a wide screen format that has a 1.85 frame in the camera (I think) and the film runs horizontally. It captures a lot more surface area per frame and ends up looking very nice and sharp. Paramount started this system and many great films were made using it like Vertigo. I just saw this projected in 70mm last week and it looked brilliant. So MAX8 widens the gate horizontally but I was wondering, what if a gate was to be widened vertically? The exposed area of a cartridge is plenty wide enough to allow a 2.39 frame. If the gate could match that width and the camera was used filming sideways, could it be possible? First I know that not all cameras could work for this. You'd pretty much need to remove the gate and it would be like exposing three normal frames at a time. The other issue would be somehow modifying the viewfinder. And lastly all of this gate business would also need to be true for the telecine machine too. If this could work, it would look like techniscope but it would be exposed film running horizontally. Since Super 8 is small we should call this wide screen format MicroScope:-P
  23. Stock is pretty cheap right now. Imagine if a Super 8 fanatic bought controlling share and influenced the product line. It would be a disaster for company but at least we'd get some pretty cool film stocks for a short time. :P Seriously though, I hope Kodak pulls through, they've been very good to my career!
  24. I'd like extendable arms so the same form factor unit can hold larger spool sizes.
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