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Edward Goldner

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About Edward Goldner

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  • Occupation
    Cinematographer
  • Location
    Melbourne

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  • Website URL
    http://edwardgoldner.com/
  1. 4 x 400' Rolls of Wittner 200D Color Reversal film. This has been popular in Super 8 and even 16mm but I've never managed to find anything online about anyone having shot the 35mm version of the stock. I bought the rolls a few years ago from Wittner Cinetec, who no longer seem to list the 35mm option on their website. I highly doubt anyone will find this for sale anytime soon if ever. The film has been refrigerated ever since I purchased it. The film is for the 4 x 400' batches as a package, no individual rolls for sale. $2,000AUD for 2,000' of extremely rare color reversal film. NO REFUNDS OR RETURNS.
  2. 6 x 400' Sealed rolls and 1 x 400' recan of Kodak Ektachrome 100D (5285). This stock is insanely rare and no longer made, I have only once seen a much smaller batch sold on Ebay in the last few years. The film was left over from a commercial and has been refrigerated ever since being purchased. I've priced this to sell and won't sell individual rolls, only the 7 x 400' cans. $3,000AUD for the 2,800' of extremely rare film. NO REFUNDS OR RETURNS.
  3. I've never done 2-perf on a Panaflex but I have shot a heap on the Aaton Penelope with a 2-perf movement. It's such a great option, especially on tighter budgets. The Aaton in a beautiful camera although not as much stability in comparison to Arri and Panaflex counterparts. I've never done anything to print, all just scanned (generally 2-4K on an Arriscanner). Here are a few of the projects. http://www.edwardgoldner.com/projects/wekeepondancing-/ http://www.edwardgoldner.com/projects/new-project-page-14/ http://www.edwardgoldner.com/projects/new-project-page-8/ http://www.edwardgoldner.com/projects/new-project-page-7/ All the best, Ed
  4. I've sent quite a bit of film to Neglab since they re-opened, really impressed with their service / standards!
  5. Hey Dom, How do the Ultrascopes compare to the Lomos in terms of sharpness? Cheers, Ed
  6. Hi Andries, The camera came with a 10mm cinegon so yes I would view it to be a nice camera... I tried to follow your link but it doesn't seem to take me anywhere..?
  7. Hello, My Leicina Special has finally arrived in beautiful condition. The only noticeable setback is the absence of an eye-cup, which is particularly fiddley with this camera in particular given the "headrest" battery back, which jabs into your forehead. Just wondering if anyone knows where I'd be able to get one. I'm also looking to get a Leicina Otivaron if anyone is looking to sell. Thanks for your time!
  8. Hello all, I've recently bought a Leicina Special, which should arrive in the mail any day now. My camera is coming with a Leitz Leicina 10mm Macro Cinegon, which I'm told is a great lens. While I imagine I'll get by quite well with this alone, it'd be great to have a few other focal lengths up my sleeve. I'm aware of the Schneider Leicina-Optivaron zoom, which sounds like quite a solid lens but I have also come across a couple of Dygon-Leica Lenses. Just wondering whether anyone has used them and if so, how they hold up in terms of sharpness compared to the 10mm Cinegon? Also just wanting to confirm that they're compatible with the Leicina Special's M-mount or require an adapter? Any information would be greatly appreciated. Thanks for your time! Edward
  9. Hi James, If you're set on shooting 35mm, perhaps look into: Kodak Vision-2 500T Expression (5229) or Fuji Reala Eterna 500D (8592). I have not shot either of these stocks on 35mm but from that I've read, they're about as grainy as you can go. I believe 500T Expression was used for "You, the Living", which is extremely low-con + grainy ( ). I vaguely recall reading that "Juno" was shot on 500D. Best of luck with your shoot! Ed
  10. Hey Gene, Both the 200T and 100T are great stocks. It's worth mulling over where on the aperture you want to be sitting at. I tend to rate 100T at 64asa and 200T at around 100asa. Not a huge jump in terms of speeds if you expose them this way. Unless I'm going for a grainy look, I tend to aim for slower speed stocks but in this case, I'd find it difficult to see much of a difference in grain structure between the two stocks given the new technology that has gone into the 200T (assuming you're talking about shooting 7213). I also imagine you'll be using an 85 to correct the stock for exteriors? If so, it may be worth considering 50D since you'll be sitting at around the same exposures as you would be using 100T with an 85. Personally, I prefer keeping filtration to a minimum (one less thing to keep track of and makes it easier to see through the viewfinder). Really depends on the location / weather / times in which you'll be shooting - if you plan to go late into the day it may be worth sticking to tungsten as you can pull the 85 if you're desperate and correct it in post. On the other hand, 200T could be a good option as it is quite a flexible speed and depending on your lighting package, can accommodate night interiors / exteriors along with the aforementioned day material. May also be nice to stick to the one stock in terms of matching - that said, most of the newer Kodak stocks match pretty well. Hope this helps. Goodluck! Ed
  11. Hello, According to official Fuji product specs, the following stocks have a granularity rating of: - Eterna 500 = 3.5 - Eterna 400 = 3.7 - Eterna 250 = 3.5 - Eterna Vivid 500 = 3.5 - Eterna Vivid 160 = 3.5 - Reala 500D = 4.0 - Eterna 250D = 3.5 - F-64D = 2.5 I understand that some stocks are older than others but these figures would indicate that (assuming that they accurately reflect grain levels for each stock) different film speeds are not directly linked to the level of grain with Fuji stocks. For instance, Eterna 400 has a higher grain rating than Eterna 250 / 250D. The same applies with the new Vivid range, I am perplexed as to how the 500 and 160 could possibly have the same amount of grain. Any input or explanation into this would be greatly appreciated. Thanks in advance, Edward Goldner
  12. Hi Adrian, You mentioned that you considered shooting on Vivid 160T, not sure if you are already aware of this but Fuji recently brought out Vivid 500T, according to specs, it has the same characteristics and grain rating as 160T so it may be a suitable candidate for your shoot. All the best, Ed
  13. Just wondering what speed people recommend rating it at when shooting daytime exteriors?
  14. Thanks very much for doing that Jonathan! I'm surprised to hear that it's digital!
  15. just found a higher quality clip of the video...
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