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John Mastrogiacomo

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Everything posted by John Mastrogiacomo

  1. For Sale: Fujinon Manual Focus Controller for ENG/EFP Lenses CHF-3 + FMM-6B The Fujinon CFH-3 + FMM-6B is a manual focus grip which provides precision focus control and is useful in a variety of professional broadcast applications, including live event coverage and sports. Original owner. Controller is in excellent condition. $400 + S&H For Sale: Century Precision Optics Optical Transformer. Lets you mount 2/3” broadcast lenses on a Super 16mm camera with an Arri B mount. Century Precision Optics (now Schneider) 2/3” Super 16 Arri B Transformer S/N C53683 I used to put my Fuji 2/3” broadcast lens with servo zoom on my Super 16mm film camera so I could have power zoom control on my Super 16mm camera.The lens worked perfectly on my Super 16mm camera with no vignetting even at 7.8mm. The picture was very sharp and I could not tell the difference between this lens and my rebuilt Zeiss 12-120mm lens with the Optex conversion when viewing the transfers in HD. The glass on the lens and transformer is perfect – no scratches, mold, etc. The transformer sold new for $2,500. I am the original owner of the transformer. Items were never rented. The transformer can have the mount changed from Arri B to PL although I don't know what the cost would be. $400 + S&H
  2. Take a look at Sony's FS-100. It has a s35mm sensor with none of the 5D problems.
  3. For Sale: Fuji Lens Servo package for S16mm film cameras. Fujinon A17x7.8 BDERM-M28 with 2X doubler. 1:1.8 / 7.8-133mm. With doubler – 15.6–266mm. Sony B4 mount for 2/3” ENG cameras Century Precision Optics (now Schneider) 2/3” Super 16 Arri B Transformer S/N C53683 12 pin to 4 pin power cable for Fuji lens for servo power. This is the setup I used on my Eclair S16mm film camera so I could have power zoom control. The lens worked perfectly on my S16mm camera with no vignetting even at 7.8mm. The picture was very sharp and I could not tell the difference between this lens and my rebuilt Zeiss 12-120mm lens with the Optex conversion when viewing the transfers in HD. The glass on the lens and transformer is perfect – no scratches, mold, etc. The lens sold new for close to $20,000 and the transformer sold new for $2,500. I am the original owner of the lens and the transformer. Items were never rented. The transformer can have the mount changed from Arri B to PL although I don't know what the cost would be. Pictures can be viewed here: Fuji Servo Kit Price: $3,000 plus S&H Please e-mail with any questions. spectravideo@cox.net
  4. Make your life easy and use Premiere Pro CS5.5.2 Just drop the .R3D files on the timeline. It doesn't get any easier.
  5. Have you tried playing the clips in your camera? I always copy my 550D clips right from the camera with a USB cable. I haven't lost a clip yet (over a year). I use Sandisk Extreme and Transcend class 10 SD cards. You should always checks clips after your shot whenever you have time.
  6. You need to take the key from your change to color tool and use that to drive another tool to change the color. I used Fusion to test it and it's extremely easy to do. 1. Pull the key 2. Use two inputs to the color corrector. Input is the original footage, key is from the keyer. 3. You're done.
  7. What you have to do is isolate the yellow grass and then adjust the hue, saturation, etc. to match the green grass. This way you will get the variations in color so it will look natural. You can't just change all the yellow grass to one color with "change to color". Grass has many different shades and textures.
  8. I would really like to get my files with ProRes 4444 (LOG) encoding, but I can not be sure how does Premiere handle it. Why not transfer to DPX files. CS5.5 handles those just fine, plus it's uncompressed.
  9. For Sale Zeiss Vario-Sonner T2.4 MK2 S16 12-120mm zoom – 85mm front lens – Arri Bayonet mount. SN 7050653. $3,500 plus S&H I bought this lens used and had it completely rebuilt and converted to S16 (Optex conversion) by Stuart Rabin, owner of Focus Optics, www.focusoptics.com. The lens is as sharp as my Optar Illumina primes were. The glass is perfect, no marks, fungus, etc. The movement is silky smooth. No dents. Very minor paint missing on the gears from follow focus/gear interaction. The lens has been stored in an airtight pelican case with desiccant. Also includes Chroziel zoom drag controller. Available for viewing in Las Vegas. NV. Please e-mail with any questions or for pics. For Sale – Kinoptik T1.8 5.7mm Wide Angle lens with lens shade–Arri mount (fits in Arri Bayonet mount). SN 85417. Has build in 2”x 2” filter drawer. $600 plus S&H I bought this lens used and had it completely rebuild and calibrated by Stuart Rabin, owner of Focus Optics, www.focusoptics.com The glass has no scratches or fungus. The lens has been stored in an airtight pelican case with desiccant. Available for viewing in Las Vegas. NV. Please e-mail with any questions or for pics.
  10. The Scarlet, if it comes come out, will have Red raw files which will enable you to do better color correcting and chroma keying and also have better slow motion. At this point no one has any idea when the Scarlet will be out, if ever. I've been in this business way too long and I wouldn't make any plans in the near future on getting a Scarlet. The EX3 is a fine camera and you can make money with it. I shot a low budget movie with the EX3 a couple of years ago and my director told me it looked "awesome" on a 25 foot screen when it was screened in LA a couple of months ago. The ergonomics of the EX3 aren't great, but the picture is fine for a lot of applications. Get an EX3 or similar camera and if the Scarlet ever comes out you can always sell the EX3.
  11. The AF100 has an uncompressed 8-bit SDI output. Currently, there is no way to get full 10-bit output from the camera. http://blog.abelcine.com/2011/01/14/your-af100-questions-answered/
  12. The video quality of the lens is quite good. I have the lens. The build quality might not be the best but it will put out a good video image. Manual focus with the lens is a nightmare. Where did you hear it is a bad quality lens? 50mm is a bit long for the t2i. A much better "walk around lens" is the Sigma 30mm f1.4 prime.
  13. I agree with Frank completely. I have the new Red plugin for CS5 and it works as advertised. The whole workflow is so much easier than FCP. Start thinking outside the Apple :)
  14. The wireless remote also works: http://www.cinema5d.com/viewtopic.php?f=38&t=11091 :)
  15. Well, you can do it with a laptop and the supplied Canon software. 1. Hook up the camera to the computer with the supplied USB cable. 2. Fire up the EOS utility. 3. Click Camera Settings/Remote Shooting. 4. Double click Live view shoot (another screen will pop up showing you the camera's live view. 5. Click the red button in the lower left corner to begin video recording.
  16. Hi Tom, Check out Dante's peak in Death Valley, CA. I videotaped a morning sunrise there in January once. It was spectacular! The sky was blood red when the sun came up!!
  17. Watch this commercial about 1/2 way in - the CU shots of the driver in blue. http://www.vimeo.com/10625387 It was shot in a parking lot with the car still. Rocked the camera a little. On the side shot of the driver I had a green screen. I made some motion video and replaced the greenscreen. Did some heavy CC.
  18. The Cannon 550D's strength lies in it's low light and shallow DOF performance plus it's stealth operation and ability to get shots in very tight quarters. I put my 35 year old Pentax Takumar 50mm f1.4 lens on it with a $20 adapter and was very impressed. The lens is great and has about a 220 degree throw for focusing. If you can find one on e-bay get it! I did a few tests with wide shots (Canon 15-85mm lens) in deep focus and the aliasing is unacceptable. Tile roofs and brick walls go bonkers - trees are OK. I can reduce it a little in post but not enough. It's a great camera for stills and time-lapse. If I only use it for stills I'm happy, plus when an improved version comes out I still will be able to use all my Canon and Pentax lenses. I love the fact that I can download the video directly from the camera with a USB cable - and it is very fast.
  19. How would you compare the video quality to the EX-1? :unsure:
  20. FOR SALE ECLAIR ACL 1.5 Super 16 camera Cinematography Special! I have lowered the price for this camera. Grab it before it's gone. I am selling it for the starting price on ebay - $4,750. Just mention you saw it on Cinematography.com. http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=320359686121 I am selling my Eclair ACL 1.5. Serial number 2876. It is a wonderful camera and I hate to part with it but lately I have been doing a lot of compositing and the money can be better used to beef up my computer system. This camera has been totally rebuilt by George Zorzoli from Optical-Electro House in Culver City, CA. http://www.opticalelectrohouse.com and Bernie O’Doherty from Super16inc. http://www.super16inc.com. Serial number 2876. It’s partially hidden behind the B&W video tap but I have managed to get a picture of it. The camera runs great. It’s very steady, it doesn’t scratch the film, etc. If you want, send me a 100’ reel of film and I will shoot it and send it back to you. You can get it processed and see for yourself how good the camera is. It has all the Super 16 conversion parts that a HD-144 conversion kit has although not the specific HD-144 parts. The groundglass also has Bernie’s special laser brightening. The camera has an Angineux orientable viewfinder (SN 1420860) and an AZ spectrum B&W video tap with power cable (4 pin male). The HD motor can run from 4 to 75 frames in one frame increments. There is a switch on the top of the motor that you switch to high speed at about 50 fps. The camera has no problem pulling a full 400’ load at 75fps. George put the motor in but I don’t know what brand it is. Bernie also put in a standard 4-pin power connector. When the camera stops running, the mirror does not center in the lens aperture. This can be fixed by using the manual advance knob. The camera is a crystal sync camera and very quiet so you can slate it and easily sync your audio. There is also an adapter on the camera so you can use 15mm rods. The mags are the French 400’ mags and have been modified for Super16. Bernie has checked and adjusted the mags so they run very smoothly. I have used the camera on music videos & commercials that have aired on ESPN. The footage is gorgeous. I get all my footage transferred at Encore in Hollywood on a Spirit and transferred to DigiBeta. The camera has an Arri B-mount. This can be changed to a PL mount by buying another adapter. The camera has an Angineux 15-150mm zoom lens (SN 1319492) that covers the whole frame. If you stop the lens down it is O.K. I always used the camera with my Optar Illumina primes or my Ziess 12-120mm lens with the Optex conversion which is also for sale. The beauty picture is my camera all decked out. The Zeiss lens, matte box, follow focus and tripod in the beauty picture are NOT included in the sale. I just wanted you to see how nice the camera can look. There are also two manuals. I am also including a lot of unused film with this camera. 800’ 7212 NEW bought 01/06 (two 400 foot reels) 190’ 7212 recan bought new 1/06 and recanned what I didn’t use. 100’ 7212 NEW daylight reel bought 4/27/05 100’ 7218 NEW daylight reel bought 4/27/05 100’ 7201 on plastic reel bought new 3/06 and recanned what I didn’t use. 200’ 7266 Tri-X daylight reels recan bought 2/07 (2 100’ reels) In summary, you get the ACL 1.5 S16mm camera with the B&W video tap with power cable, Angineux orientable viewfinder. 4 to 75 fps HD motor, an Angineux 15-150 Super16 lens, two 400’ French mags modified for Super16, adapter for 15mm rods, 1490’ feet of film and two manuals. Please let me know if you have any questions.
  21. For Sale Zeiss Vario-Sonner T2.4 MK2 S16 12-120mm zoom – 85mm front lens – Arri Bayonet mount. SN 7050653. Cinematography.com special! I have lowered the price of this lens to move. I want it to have a good home. The price is now at the initial price I am selling it for on e-bay. $3,950. Just mention you saw it for sale on Cinematography.com http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=320359687157 I bought this lens used in 2005 and had it completely rebuilt and converted to S16 (Optex conversion) by Stuart Rabin, owner of Focus Optics, www.focusoptics.com. The glass is perfect, no marks, fungus, etc. The movement is silky smooth. No dents. Very minor paint missing on the gears from follow focus/gear interaction. The lens has been stored in an airtight pelican case with desiccant. Also includes Chroziel zoom drag controller. Available for viewing in Las Vegas. NV.
  22. For Sale Zeiss Vario-Sonner T2.4 MK2 S16 12-120mm zoom – 85mm front lens – Arri Bayonet mount. SN 7050653. I bought this lens used in 2005 and had it completely rebuilt and converted to S16 (Optex conversion) by Stuart Rabin, owner of Focus Optics, www.focusoptics.com. The glass is perfect, no marks, fungus, etc. The movement is silky smooth. No dents. Very minor paint missing on the gears from follow focus/gear interaction. The lens has been stored in an airtight pelican case with desiccant. Also includes Chroziel zoom drag controller. Available for viewing in Las Vegas. NV. Price $5,000. Save $1,000 by buying this lens and my Eclair ACL camera also listed here.
  23. I am selling my Eclair ACL 1.5. Serial number 2876. It is a wonderful camera and I hate to part with it but lately I have been doing a lot of compositing and the money can be better used to beef up my computer system. This camera has been totally rebuilt by George Zorzoli from Optical-Electro House in Culver City, CA. http://www.opticalelectrohouse.com and Bernie O’Doherty from Super16inc. http://www.super16inc.com. Serial number 2876. It’s partially hidden behind the B&W video tap but I have managed to get a picture of it. The camera runs great. It’s very steady, it doesn’t scratch the film, etc. If you want, send me a 100’ reel of film and I will shoot it and send it back to you. You can get it processed and see for yourself how good the camera is. It has all the Super 16 conversion parts that a HD-144 conversion kit has although not the specific HD-144 parts. The groundglass also has Bernie’s special laser brightening. The camera has an Angineux orientable viewfinder (SN 1420860) and an AZ spectrum B&W video tap with power cable (4 pin male). The HD motor can run from 4 to 75 frames in one frame increments. There is a switch on the top of the motor that you switch to high speed at about 50 fps. The camera has no problem pulling a full 400’ load at 75fps. George put the motor in but I don’t know what brand it is. Bernie also put in a standard 4-pin power connector. When the camera stops running, the mirror does not center in the lens aperture. This can be fixed by using the manual advance knob. The camera is a crystal sync camera and very quiet so you can slate it and easily sync your audio. There is also an adapter on the camera so you can use 15mm rods. The mags are the French 400’ mags and have been modified for Super16. Bernie has checked and adjusted the mags so they run very smoothly. I have used the camera on music videos & commercials that have aired on ESPN. The footage is gorgeous. I get all my footage transferred at Encore in Hollywood on a Spirit and transferred to DigiBeta. The camera has an Arri B-mount. This can be changed to a PL mount by buying another adapter. The camera has an Angineux 15-150mm zoom lens (SN 1319492) that covers the whole frame. If you stop the lens down it is O.K. I always used the camera with my Optar Illumina primes or my Ziess 12-120mm lens with the Optex conversion which is also for sale. Inquire about buying the camera and the Ziess lens and save $1,000. The beauty picture is my camera all decked out. The Zeiss lens, matte box, follow focus and tripod in the beauty picture are NOT included in the sale. I just wanted you to see how nice the camera can look. There are also two manuals. I am also including a lot of unused film with this camera. 800’ 7212 NEW bought 01/06 (two 400 foot reels) 190’ 7212 recan bought new 1/06 and recanned what I didn’t use. 100’ 7212 NEW daylight reel bought 4/27/05 100’ 7218 NEW daylight reel bought 4/27/05 100’ 7201 on plastic reel bought new 3/06 and recanned what I didn’t use. 200’ 7266 Tri-X daylight reels recan bought 2/07 (2 100’ reels) In summary, you get the ACL 1.5 S16mm camera with the B&W video tap with power cable, Angineux orientable viewfinder. 4 to 75 fps HD motor, an Angineux 15-150 Super16 lens, two 400’ French mags modified for Super16, adapter for 15mm rods, 1490’ feet of film and two manuals. Pictures are available. Total price is $6,000 + S&H. Please let me know if you have any questions.
  24. A movie shot on Pixelvision starring Brad Pitt has an infinitely better chance at distribution than a movie shot on 65mm without any known star actors. Unfortunately, you are wrong. For a movie to get distributed, it has to past very strict quality control. Believe me, I've been through it fixing up a lot of independent movies. I have also seen low budget movies with no name actors that I have QCed get distribution. Also, I own a Pixelvision camera and know exactly what the quality is like. I have also shot a lot of 35mm (no 65mm though) so I know the difference very well. .:rolleyes:
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