ishan vernallis

wow! you guys are really amazing! i can't thank you all enough. i'm looking forward to seeing your piece steve. thanks for sharing it, and giving me a chance to see what 200t looks like w/o 85 filter. this post was a great start to the new years learning curve. cheers!

much thanks david and chris for the insight. yes, the nd filter factor. thanks for saving me from possible over exposure. it is all a bit of new world to me. my experience so far is using the ND filter on my dvx100 which i understand in a functional way. but the science of it? if i might pose another rookie question (or two)- i'm shooting various lenses on an acl all with different diameter front glass so there is no way ($) i'm going to buy filters for each lens. at this point i'm also working without a matte box/ filter frame. but the acl does have this gel filter slot, which while maybe not being as precise/desirable as putting glass on the end of the lens it is what i'm hoping to make do with for now as i can swap out lenses and keep the same piece of gel set. as far as gel nd filters (wratten?) which would you suggest having? if i wanted to budget for only two. a .3 and a.6 as d. underdahl recommends in his book? he writes that a .3 cuts 1 stop. and a .6 cuts 2 stops and that you can layer them together to cut 3stops. what all this filter talk makes me realize (did you just hear the gulp as i swallowed my pride?) is just how unclear i am about the notion of what actually comprises a whole "stop". (laughter, do i hear laughter?) it seems like going from f32 to f16 is a jump of two stops. why? i understand the basics of how to use a light meter. film speed in relation to aperture, shutter angle and such. but if i were to try to tell you how many stops are between f 5.6 and f 11 i'd be at a loss. is there a simple description/formula that will clarify this concept for me so that when i am using an ND filter i get the correct exposure? slowly slowly piece by piece i think i'll go to the woodshed now and practice some scales. thanks.

What are you testing? The results will not be reflective of 200T with the right filter. thanks for the input charles- basically testing a bunch of stuff i've not used yet. an acl 400' mag that i've never run film through, and i'm curious to see what i'll get out of a few lenses that i've only looked through at this point. but it seems like it might be worth the while to wait until a filter comes in the mail and to shoot some other stock, (i had ordered a filter, but the seller didn't get to the post before early holiday hours closing today) might just shoot video instead this week. it would be a shame to loose what could be nice color just for a lack of a bit of orange... happy new year!

beginner question. i'm hoping to do a camera test in a few days. shooting kodak vision2 200t. the film is balanced for 3200k and needs an 85 filter for daylight. just a shortend thrown in on deal. we're shooting outside. i dont know if i'll get a filter by thursday with the holidays and such if i go filterless. how off will the color be? can i easily color correct in post/fcp. as i will be editing this footage digitally anyway? would it be any different than tweeking with hue parameters for digital film to compensate for off whitebalanced video? you would think there would be some sort of plugin for fcp's colorbalance called "filter 85"? (1/2 joking) thanks

hi andres were you shooting in squeeze mode or letterbox? looks great.

Wouldn't you know it, just when finally I got a super16 camera there pops up a live theater project that necessitates actually projecting 16mm film on stage. All of my projectors are eiki ssl standard 16. I'd be willing to lose the audio on one of them to be able to widen the gate. Has any one done this before? Now I'm kicking my self for not buying that super16 pageant that was on ebay a few months ago. any one got a super16 projector they want to sell? thanks!

I was interested in seeing your clip but the link did not work/ nor did this piece directly from your website... other clips in your portfolio did. thought you might want to know.

I recently purchased a C mount 17-85 som berthiot dog leg zoom to use on a non-reflex bolex rex16. The problem is that when the lens is screwed in all the way, it does not mount in a manner so that the dog leg viewfinder can be attached to the lens. I've seen pictures of how this lens is supposed to fit onto the camera, but this one sets the viewfinder mount so that the dog leg would be running through the bottom of the camera body. Does this mean that the lens mount is way out of whack and needs to be collimated? Where does one get the calipers... (or whatever they are actually called) the two point wrenches, that enable one to turn the c-mount threads and other parts of a lens. It seems like if I could just screw/unscrew the cmount further/less into the lens that all would be well. Any Ideas? Thanks!

Thanks for the input Chris and Robert! much appreciated.

If this has already been addressed... please forgive the repeat post. nothing was coming up in the search engine. I have a music video in the works, and I'd like to shoot both on 16mm and standard def 24p video (dvx100). (we won't be doing a HD telecine for this project) what I am wondering is- what format the 16mm comes back in when telecined for standard def work... will it be progressive? (I would hope so) will it be usable on a 23.98 (24pA) timeline? or only a 29.97 one. or do they do a true frame for frame 24 fps progressive transfer, that is only really good for a 24p timeline.... I'm just trying to figure out what mode I need to shoot my dvx in so as to be able to cut it in with the 16mm transfer. I suppose it may depend on the lab, but if anyone has any advice, I'm all eyes.

that angenieux viewfinder is for an eclair acl camera... i seriously doubt it could be applied to a 12-120 lens. it'd be like hunting for a duck with a decoy moose.

I just got around to calling up dwanye's photo as i saw online that their order form listed 100' rolls of 16mm kodachrome... and was sooooo excited about the prospect. Then the sales person told me that they sold out only a few weeks ago! I feel like I just found out that the last Chinook salmon swam out to sea, never to spawn again.

the topic title says it all... anyone have or know where I can find just the sunshade for a kinoptik 5.7 lens? thanks- ishan

[ Anyone have a contact for Kinoptik or Kinopik vendors in the US and other than A Cam? I guess maybe Du-All since they sell the A Cam, no? hi alain- i was in contact with the kinoptik folk in france a few months ago looking for a sunshade for a 5.7 (which they quoted at 527euro?!?!? 120euro shipping!?!?!) parlez vous? I can forward you the email.

did you guys composite the pigeon for the arial shots? or were you flying your r.c. helicopter that close to the birds... great shots!