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    Cinematographer
  1. Hi Guys, I am looking to create the effect of film being run on/off, light leak, flashframe etc for use in post production. I'm planning on running 100ft of film through my S16 Bolex to create the effect. I'll get the usual fogged frames at the top & tail of the spool, but I want the whole 100ft to have a variety of light leak/fogging issues. I plan on intermittently removing the filter holder and shining a light through the slot. I also plan on intermittently removing the lens to expose the film. I will shoot with an old roll of 7245 (5 years old but kept refrigerated). I guess I'm looking for any guidance/tips from someone who may have done this. Many thanks.
  2. I have not hired equipment from this company, but they seem to have what you are looking for: http://www.kithire.com/camera.htm Good luck.
  3. Have sent you a PM. Good luck!
  4. This has been discussed before... My strong suggestion is the Bolex factory in Switzerland - not the cheapest or most convenient but in my experience a very good conversion. I have had problems with conversions done in the U.S.
  5. Flying Spot / Lightpress have lost out simply by being impossible to contact / not providing an email address on their website. I only have a mobile with me, no landline, and I'm not waiting until like 8pm at night and then using up all my PAYG minutes to call Seattle. Light Press have a wealth of contact info: http://lightpress.tv/contact/ Even a Skype address. Give them a call. Good luck!
  6. Have you spoken to ilab in Soho yet? I spoke to them a few months ago and they were planning to do S8>HD transfers... Late last year I had some S8 transferred at Flying Spot in Seattle. It was all shot 25fps and they transferred it at that speed for me. The quality of the transfer was fantastic and they were pleasant to deal with and very professional. Highly recommended.
  7. This Sony cam also looks interesting: http://www.sony.co.uk/biz/view/ShowProduct...ipurposeCameras It was only released recently and I have not used it yet but could be an option...
  8. http://www.sendeancameras.co.uk/ They do great work.
  9. I can't offer any insight but I can say that I've been using the smaller Joker Bug units for many years and found them to be an excellent fixture. Lightweight, reliable, etc...
  10. http://switchpod.com/users/studio006/feed.xml http://forums.creativecow.net/forum/applecolor#4352 http://www.coloruser.net/grades http://discussions.apple.com/forum.jspa?fo...138&start=0 http://movielibrary.lynda.com/html/modListing.asp?vid=67 Enjoy - the software has some limitations but it's extremely powerful.
  11. I've always sent my Bolex gear back to Switzerland for modification/service. Shipping is not too expensive, and you are guaranteed top quality work. Make sure you fill out the customs details correctly though - it's a temporary export. I have tried other technicians (not in the uk) and been disappointed with the results. If you are using the camera for important work and need to be certain that it has been serviced properly I would recommend the factory - always been happy with their work.
  12. I have shot a lot of footage with the 1014xls and cropped the image to 16:9 in post for broadcast without any problems. I have used neg and reversal stocks with equally good results - but it's important to have a good telecine transfer and deal with the material in post at a good quality eg 10/8 bit uncompressed. If you look through the viewfinder, you will see on the left hand side two triangle shaped little "notches" - one near the top and the other near the bottom. They are fairly close to where the frame lines for 16:9 would be - so instead of masking the viewfinder I have just used them as a guide. To test this look at a 4:3 monitor with some 16:9 letterboxed material and you will see that they line up fairly closely. In post you also have the option of repositioning the image to fine tune the frame. Good luck!
  13. Hi Jon, I purchased one of these units for my 1014xls. As you can see from the website you must also send them your camera for conversion to allow the unit to function. I am really happy with the results - I have had no problems whatsoever. As a result of the conversion there is now an additional small input socket near the back of the camera - not a big deal and the camera still looks fine. The unit is simple to operate and has always worked perfectly for me - I've probably shot about 20 rolls of film with it. It does what it's supposed to do - makes post syncing of sound possible, and eliminates the chance of lights flickering. My only slight criticism is that it is fairly large - I still haven't found a way to neatly attach it to the camera when working hand held, and usually just have it looped over my shoulder. When using a tripod there is a little hook on the cable which they recommend attaching to the tripod. It would also be nice to see it switchable between 24/25fps. At the moment you must nominate which speed you want. I have no hesitation in recommending this unit - just remember to unplug it when you're not actually filming otherwise the internal 9v battery will go flat. Good luck!
  14. I have used these meters for years and think they are fantastic. I have a full set of slides - up to 500asa. However - If you use the calculator wheel on the back of the meter you really only need the 12asa (X100) and the 125 (x10) slides... Simply set the calculator to the asa, insert whichever slide is appropriate for the level of light you are working under (a slide is not required under low light), then take a reading in fc's. Line up the little triangle with the fc reading you measured, look along the dial and you will see the f stop... That probably sounds a bit complex - it is easier to demonstrate than to describe, but it is very simple, quick and accurate. I also find these meters remain in accurate calibration if they are reasonably well looked after.
  15. Yep - it is still fairly noisy. Not sure what the decibel level is but I think too loud to realistically be trying to record location sync sound. I've never gone down the route of blimp/barney/software to reduce camera noise - just recorded location sound as a guide and replaced it in the edit - fairly easy with experienced on camera talent. This has worked well for short pieces but would probably be impractical for longer form work.
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