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  1. I have the cannon HD 21X lens (HJ21x7.5B) and out of all the video zoom lenses i have come across i am the happiest with this particular lens, the front element is large (I think 127mm) and it will make a video camera very front heavy, but the breathing is much better than other video lenes I've had. Another thing I will do is when I need to rack my focus I'll try and use the macro this way I have no breathing, of coarse it can't always work. From my own experiences I've never been happy with Fujinon lenses, Ive always felt them to be a little flat or mushy, but hey maybe I never got my hands on really good Fuji glass. Good luck and I'd love to hear other opinions. JD www.cineshooter.com
  2. check out my reel at www.cineshooter.com if you like it contact me and we can talk about your project JD
  3. Double is the way I have always done it. As for the light meter issue, I'm not following, if you have a meter set the meters ASA/ISO for the film stock you are using, then set you speed 24FPS, 30FPS 75FPS (if you are using a meter w/o cine reading you need to do the math 30FPS = 1/60th of a second (because you camera's shutter will be closed for half the time)whatever speed you are shooting, any wild motor camera will have slight variables, they are not figured in for metering, and then take your reading happy shooting JD www.cineshooter.com
  4. when you start messing around with different lenses you can really have some fun (yeah, I know my wife has already said it, but to me its fun) just remeber the 35mm lens placed on a 16mm camera will give the angle of view of a 16mm lens with double the 35mm's focal length (35mm lens focal legth 50mm will act like a 16mm lens with the focal length of 100mm) God luck JD www.cineshooter.com
  5. If I understand what you're asking, the lenses focal length equivelance, when using a 35mm lens on a 16mm camera is that you double the focal length ie; a 50mm lens for a 35mm camera would give you the angle of view as a 16mm lens with the focal legth of a 100mm. Was that the question? as for counting (calculating) the shutter speed of the K-3: The K-3(s) that I used in the past where non sync. (wild) spring wound motors, there should be a little dial on the side of the camera that sets your film speed........the spring wound K-3 is a non sync camera, so the speed calculations will vary while shooting, and if I recall the camera, are estimates, the camera does not have a variable shutter, but I do believe some people have modified the K-3 for a sync motor......hope I answered your questions.... JD www.cineshooter.com
  6. If you are looking to avoid the lenes breathing then you will definetly want to avoid the ang. as for the zeis (I've used the T2 and it had a macro) to avoid the breathing problem, tryusing the lenes macro focus to do your racking or focus pulling it doesn't always work but when it does it helps out tremendously. As for your SLR lenses are you sure they will work, I'd recommend a test before you commit to that, sometimes they will mount but the focus plane is not the same as your SLR and that's no good.... Good luck, JD www.cinehooter.com
  7. The K-3 has some nice pros than make the cons much more palatable.....I was always able to use some old Mamiya 35mm SLR lens on mine and the results were nice array of lens for a real in expensive price, it's a small cam, that I was able to mount almost anywhere, and could control the starting of the spring motor using a long slr plunger cable, so we could mount the camera on a motorcycle handlebar or a car dash, the fact that i could use a few of my old slr lens (before my slr decided that it needed a new home and 'grew legs' one day) allowed me to use all of my filters on the camera as well.....if it wasn't for the stinking film jamming problem, I would have thought this a perfect little pocket camera....(well maybe not perfect, be real handy) JD www.cineshooter.com
  8. If budget is your primary concern, find out if your 16mm cam can be modifyied to S16 down the road, of course you will then need all new lenses, when you decide to buy a camera, you may want to do a couple of things first; find out the cameras capabilities (FPS, tap, S16, lens option, sync.) next you may want to have your head examined, I now own 3 and I know I'm nuts..... Good luck, JD www.cineshooter.com
  9. We used to kick up the gain then iris down taking the 'video bite' out of those old tube cameras....the Ikegami 79 had the best picture, then the Hitachi SK-97, and the sony's were actually the worst (on my list back in those days).....good luck finding a place to rent one you might try calling Sean Moran at Hitachi Densi of America 1-516-682-4431, he may be able to get his hands on a still operational SK-97, this is NOT a camcorder and you will need a seperate deck (the Sony BVW-35 was tops in it's class, I still own two if you're looking)....as for the comet tailing effect, when you point those tubes at a direct light source you burn the tubes (very bad) and the result can be a burn spot permanently left on the tube visible on any image from that point on...... Good Luck, JD www.cineshooter.com
  10. check out this stuff http://www.uic.edu/sph/glakes/harts/HARTS_...ary/filmall.txt http://www.stuntmen.com/internal.html Don't mess around with people's lives.... JD www.cineshooter.com
  11. I'd suggest talking to your telecine house and see if they are even equiped to handle the arri code or the aaton code....I did a gig with aaton code only to find out that my telecine house was not equipped for aaton code (image my dismay)...so my telecine operator did it the hard way.....listen to the sound man say rolling take _ .....etc, etc and syn it up with the peoples mouths..long and costly.... Peace, JD www.cineshooter.com
  12. Do you mean full daylight spools or just the empty spools......full spools yes Kodak, Fuji, Ilford, as well as many film resalers will sell them as for the empty spools, I actually never looked to buy any... JD www.cineshooter.com
  13. pan and tilt drags seem to be sticky not so smooth the locks seem to go bad not enough drag settings heavy for the weight the head can handle not the easiest to balance I just never liked them.... whether they be studio peds or field tripods JD www.cineshooter.com
  14. strictly a personal opinion (not looking to get sued) I hate Vinten.....never used one that I thought was worth a half a pack of Lucky's..... I like ..... O'Connor, Satchler, Cartoni....never been burned JD www.cineshooter.com
  15. well, I had (still have somewhere) a K-3 and it came with a pretty descent lens (manual zoom something like 8-70mm, I'm guessing it's been a long time) the camera had a jamming issue and didn't always have a steady gate, got to the point where I could tell how it was running via the feel and sound, you can't do sync sound unless you modify the camera (which would have cost me more than the price of the camera), when i was in school we used super 8 rigs I never had much of a problem with those.....you can learn the basics of 'filmaking' with any motion camera including video, cut, composition, camera aqngles etc etc....as for learning about things like film stocks how they react, the gamma, lens perspective, well you could learn that with a 35mmSLR, (which you probably already have) a mentor would also be a good way to go ....you are young you could hook up with an AC, on a volunteer basis, and that would be an education in life and in film....you seem to be in a area full of industry professionals..... Good luck, JD www.cineshooter.com
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