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Webster C

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About Webster C

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  • Occupation
    Other
  • Location
    Oakland
  • My Gear
    BMCC, Canon 60D, Mitchell NCR, Mitchell GC, Wall, Arri IIB, Eyemo, Bolex Rex 4 Super 16, Bolex Rex 3, Bolex M, Revere 103 - homebrew Ultra/Super 16, Canon 1014XLS, Elmo Super 110
  • Specialties
    Animation and Visual Effects

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  • Website URL
    https://vimeo.com/webstercolcord

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  1. Oh shit. I didn't know something had to be done. Oops.
  2. @Steve Dunn I may have been shooting my example with the 10mm non-preset version, I'm not sure. I have one of each. If so, according to the info above about the difference in the two versions of the lens, that might explain why I have more vignetting in my footage.
  3. It does cover Super 16, but like Volker said, there's a little bit of vignetting at the corners. This was an impromptu piece that I shot using a Switar 10mm (the preset version, if I recall) and a Switar 25mm. FYI, the levers tend to get broken off from the preset Switar 10mm :
  4. Here's a couple amateurish Ultra-16 examples from myself, shot with a cheap Revere springwind camera with a widened gate. The first example is cropped and heavily stabilized: The example below is uncropped. Unfortunately when machining out the gate, a tiny burr was created and it's scratching off a bit of emulsion, which is building up in the gate. You can see edgecode between the perfs on screen left.
  5. Thanks for the link Simon! It reminds me of the Auricon gate with its bearings that help stabilize the film. I'm still dubious about the steadiness of the CKS, though, as the films that I have been getting scanned are mostly 2R and I see registration issues. Do you think it's odd that the film is sandwiched against itself as it passes thru the single sprocket on both the feed and the takeup side? Also, Simon, do you have any experience with the Eumig C16R? It seems to have the same problem as the Beaulieu R16 & Filmo, in terms of the miniscule base for mounting. I haven't worked with
  6. Fabrice, I'm loving this topic and I'm so glad you started it, and made a good case for the Webo, a camera which I have long been curious about. I have dabbled with shooting through an anamorphic lens, but didn't want to spend a lot of money. So I picked up this giant inexpensive projection lens and rigged up the Bolex on a cheese plate, with rails and a big mount for the front lens. It works okay and I have even handheld this rig! This is just to show that anything is possible with the right rigging components. You also mentioned the Kodak Cine Special. I have been scanning fi
  7. Seems like there's some information missing. If they wanted to shoot two or three perf, why didn't they just get the existing pressure plate anodized black? There must be more to that part of the story. Looking forward to viewing the movie on Netflix!
  8. Some cool tricks in there. The first macro shot where the hand grabs the bottle, and one later close-up has a lot of chromatic aberration - I have an old Pan Cinor that does the same. Also I think there's many shots where the camera is shooting into mylar that's being wiggled? Maybe one shot with vaseline around the edge of the lens, or a hole cut in a plastic bottle?
  9. Sorry for the lengthy topic wording. I didn't want to call it "Camera Movements" as that would be mistaken for something else. I'm sure this has all been covered in the forum previously, but perhaps not under one topic thread (I searched). From what I have learned over the years, there are four basic types of camera movements (film transport mechanisms) in professional cameras with many variations: 1. pull-down claw - usually driven by a cam, variations include the Bolex' "trailing claw" and the Auricon's claw with bearings in the gate which have a stabilizing function. 2. claw
  10. I just got my inaugural test roll back for a Gic 16 - and my first time shooting the new Ektachrome. Lots of problems, and have since sent off the camera to Mr. Wyss for repair. The take-up was inconsistent, so every 5 feet it would back up and (since there's so little room in there) jam. So I had my changing bag with me and would pop the camera into it after each 5 ft, and manually adjust the take-up. Unfortunately, it turns out that this changing bag was not 100% light-tight! It was also an extremely bright day, so I'm not too surprised. E100D, processing by Dwayne's, 2K scan by Nick Coyle.
  11. Arthur, I really love the "Omni 16" option that you show on your site. I'm wondering - is it the same price as your Super 16 conversion and does it involve re-centering the lens just like the Super 16 conversion does? - Webster
  12. I shot a roll for fun with my Filmo Superspeed, 128fps on a spring motor. No editing. Processing and scan by Cinelab Boston Lens: Angenieux 17-68 with dogleg finder, Skylight filter Stock: Kodak 500T 7230
  13. @Frank Wylie Do you know if it's possible to adapt Mitchell mount lenses to a J.M. Wall mount, or vice-versa? I know that both use screws, but how different are the mounts? Sorry, my cameras are in storage at the moment so I don't have easy access to compare. I know the flange focal distance is *almost* the same from the Mitchell standard to the "new" Wall.
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