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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. 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 one though, I'm curious. Sad that it's a proprietary lens mount.
  2. 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 film shot with a Cine Special from an old filmmaker friend and am finding lots of unstable footage. Recently I verified with someone else, that with their Cine Special system some magazines were more reliable than others - the claw mechanism is part of the magazine and it doesn't seem to be very well made.
  3. 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!
  4. 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?
  5. 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 with pins mechanically linked - does this have a better name? I'm thinking of the "Mitchell-type" mechanically linked pull-down claw with registration pins. In the J.M. Wall camera this was designed to all fit in a compact module that could be taken out of the camera easily, the Arri BL had a similar design. The Arri-S and Milliken come to mind as other variations with a mechanically linked registration pin. 3. fixed pin shuttle - used in the Bell & Howell 2709 and animation cameras, also used in optical printers 4. prism & drum - specifically for highspeed cameras - please correct me/mansplain-away!
  6. 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. Lens was an Angenieux 17-68 with side finder. Camera's speed is supposed to be 16fps but I have adjusted the speed in the edit to 15fps and it feels correct. It's really just a novelty camera, cheaply made but fun and *tiny*.
  7. 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
  8. 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
  9. Webster C

    Wall 35mm camera

    @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.
  10. Maybe someone can answer on a related topic, as I found another one of these lenses - is this what it looks like, a dual mount for a BNC and a standard? It's pretty obvious that the larger four flanges (one of which, looking at another photo that I didn't upload here, has a notch) is the BNC mount, but I am not quite sure what I'm looking at with the smaller mount on the end, with what looks like screw holes (I have not bought this lens yet and tried to fit it to anything).
  11. @Pavan Deep was selling a couple of them
  12. Whatever happened to your lens, Patrick? I saw one of these for sale on Ebay about a year ago, dogleg finder but specifically for a BNCR, it said.
  13. This is a more illustrative picture of the Nato rail. It needs to have that slot in it, for the screws that hold it into the Bolex mount.
  14. Just to chime in here; the official Bolex rails are sometimes hard to come by. I figured out how to rig normal lens support rods to a Bolex without using a cheese plate. The key was a Nato rail, attached to the Bolex with M6 metric screws. All cheap SmallRig components. The Nato rail I got was 7cm long, but I would go for a slightly longer one.
  15. I picked up a Super 110 (cheap!) after someone recommended it and it's a fantastic camera, I'm surprised they don't get mentioned more often. Simon, are all Europeans known for being open and direct? Surely not the British, right? I mean, when a Brit says the lovely-sounding phrase, "With all due respect"; he's about to lob a huge insult at you.
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