Hunter Hampton

This look reminds me so much of this video, Have you seen this before Chase?:

Link: http://mattiasmontero.com/music-videos/lykke-li/

Its a great look, I love the backlight.

Thanks for the tips guys!

The camera package has just sold locally. Thanks for everyones interest, my apologies if I didnt respond to your emails.

Unrelated, but where could one find a copy of that sweet poster with the Camera Assistants mimicking the Flag pose?

 

... nice package, also :)

Thats actually at a rental house here in town, I will ask. I thought it was funny how accurate it is!

I have a BL-2 35mm package available in great working condition.

I just shot this on it recently:http://vimeo.com/3844973

Includes:

Arriflex 35mm (4-perf) BL-2 camera (Academy ground glass with 1.85:1 inner marking)

Jergens video elbow with sony color video tap

Three 400' Mags

One 1000' Mag

Prime lens blimp

Viewfinder Extension

Speed Controller with cable

Block battery with coiled cable

Angenieux 25-250 T3.9 Zoom

300mm T4 Zoomar

Everything has its own marked heavy duty case and is ready to ship, there are also a lot of other freebies that I will throw in with it.

This package is coming from a working environment and is perfect for a student or someone looking for an inexpensive and reliable 35mm sync package, I just cant afford to keep it.

Asking $5000 OBO. Send me your offer- I want this sold by next week!

E-mail me at hunter@hunterhrichards.com

Thanks.

I may be shooting with anamorphics soon and Im looking for a monitor that can de-squeeze the image for viewing on set. Anyone know of some affordable ways to go about this?

Thanks!

Hi Elliot-

To lock down the camera I used a vaccum cup with bogen magic arm attached, I placed the camera at the other end and wedged it on top of the passenger sat and secured the arm. Thank you for your comments!

Hunter, for a "test" this is truly inspirational footage, makes me really glad I recently purchased a bolex! Would you mind telling me what kind of rig you used for the car interiors in order to lock the camera down? Particularly the shot behind the drivers seat looking towards the front windshield.

If you consider the footage I shot acceptable for a doc, then I think that answers your question. ; )

Im a bit biased because Paul is a friend of mine but here is my honest opinion about the Diamond clear HD:

Its not as sharp as you would get with a spirit transfer but it does have a certain "vibe" from the tubes that I really like.

I did a transfer of some super 16mm at cinelicious and then transfered the same roll on a spirit (both to 1080p Prores). The spirit was of course super clean and sharp and look VERY modern, but lacked the "vibe" that I saw from Ursa Diamond. I prefer the look of the tubes and love what it does for color on the Ursa Diamond, but its not as sharp as the spirit.

If you were shooting for broadcast and wanted the "vibe", I would suggest transferring with the Diamond clear HD set-up at cinelicous, but if it were going to a large screen venue or if you wanted a super clean image, a spirit transfer may be a better option for the sharpness factor. Just remember, this is a service that is about 1/2 the cost of transferring on a spirit, dont expect it to be apples to apples.

However, I did just transfer some 35mm at cinelicious and it was as sharp as the super 16mm stuff I had transfered on the spirit, I dont think you would notice a huge difference with 35mm between the two unless you were going to be showing the work on a very large screen.

Paul is a great guy and if you call him and ask him your questions, you can trust him to give you an honest answer.

I used this on a BL-2 camera package but I think you can also use this on the 35-III and maybe even the 2c cameras, as well as all of the BL series cameras. Works great and all optics and iris are very clean, and function as they should.

Comes with:

Sony XC-999 color video assist camera

Jergens elbow

Cable (4-pin 12v with bnc connector)

See pictures here:

http://www.flickr.com/photos/8625918@N04/?saved=1

Best offer takes it! Im willing to let this go for a steal as Im not much of a video tap kinda guy and would rather have some extra money.

Send me a PM or e-mail me: hunter@hunterhrichards.com

I think the d90 actually has just about the same size sensor as super35. The problem will be fitting the camera with an adapter and clearing the mirror, I dont think its going to happen.

Sounds interesting anyways! Please share what you guys end up doing.

Your idea with the jib looking down is probably the best but just to humor you;

1. Rig something up from one of those hiking backpacks with the external frames, point the camera down and use a lighter weight 35mm camera. (eyemo? 235 with 200' mag?)

2. Get a steadicam operator to follow close behind the child (have the kid move his head to the side) and boom the camera down over their shoulder or from in front.

A better "test" would be to shoot outside where you dont have total lighting control, test all the same cameras on a sunny day and put 50asa film in the camera and see how the other formats measure up. It wouldn't be so close for that test.

Thats a very nice comment Will- I don't think I deserve it but thanks!

I really like the shots of the fellow riding the motorcycle, looks great! The aminima strikes again! ; )

Thanks for the info Bernie! I just may have to buy one now or two...

Anyone? Its this fixed focus strange looking lens:

I didn't consider that about the capping shutter- thats a good point.

About the aminima's timelapse/interval mode, you can pick from 1/4 sec to 255 seconds for exposure time and just about any interval time you want, you can also do bursts as well (which I haven't used yet). It has a great display though and reads out your exposure time and interval time, counts your frames and feet, and also counts down to the next exposure when you put it into interval mode. I just like how its so small and has that feature built-in. Pretty cool.

Has anyone used this lens on a super 16mm camera? What are your thoughts about it? It looks like a fun cheap lens, I just wanted to make sure the sharpness would hold up at HD resolutions, and it fully covers s16mm- I dont mind if the coating are not up to par with zeiss. Thanks.

Actually no that IS the point I was making.

 

if the film is moving and there's a very slight amount of activation of the grains then it will affect the overall sharpness. This is what JPB at Aaton was arguing.

 

Remeber the shutter isn't light proof. That's why you get flash frames. Depending on ambient light, most cameras can't shoot more than 5 seoncds a frame without a capping shutter.

 

I only know from the end results that it's a remarkably sharp image (lenses aside)

 

Have you found that Hunter ??

 

jb

Well, I haven't done a pin-registered 2K transfer with my a-minima stuff yet just to see how sharp and steady it really is, but the colorist who transfers my stuff says its very sharp compared to the other s16mm stuff he sees. I did notice that I can do really long exposures though without getting light leak problems though- its nice not to worry about adding a capping shutter when it comes to timelapse!

I thought I won something! ; )

Thanks to both David and John for the further expert advice. I never would have thought it would be the A-Minima that was the steadiest S16!

Score! :lol:

Karl-

Your totally right about price not being a top priority in cinematography, thankfully! But there is an emerging market that weighs heavily on price AND quality, they want both and its not necessarily determined from the camera dept. but from the people paying out the money (smaller production companies). If film wants to take part in this huge and growing market (keeping in mind that some of the people in this market are going to be "bigger boys" in a few years, they need to get film in the hands of their productions and fit it within the means of their smaller budgets.

This will require some forward thinking companies and a group effort in the film community.

I fully agree: "The lack of a cheap, fast, quality scanner is what effectively killed film photography in many still applications, and the market there was much, much larger." I hope people are listening to that.

Adrian-

About your idea regarding a high-quality scanner that outputs dpx format, the steadyframe does just that at 2K resolution and with 35mm 2/3/4-perf and s/16mm, with an LED RGB backlight! Thats why I got so excited to see something like that for $150k, its not realtime yet mind you but it is upgradeable to 24/25fps in the future.

I'm really looking forward to post facilities stepping-up and offering top quality for lower rates and using forward thinking technology like the steadyframe scanner can make that a reality. When you lower the cost of a room from $1.5 million to $200k, and get the same talented people in there, your going to get high quality but at a much lower price, with less overhead.

There are also a few "film gamma" modes- using the FilmRec mode it should look kinda muddy and low contrast but it will give you more room in the highlights. You can also play with the paint menu to get the color where you want it.