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Fabrice Ducouret

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About Fabrice Ducouret

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  • Birthday 03/15/1981

Profile Information

  • Occupation
  • Location
    Paris, France
  • My Gear
    I own over 50 cameras (Super-8, 16mm, 35mm, Video, digital...)
  • Specialties
    I am a filmmaker and director of photography who also takes pictures and draws. I have directed over 160 short films since my youngest age in the 1980s, until now, in various genres and formats.
    I also build or tweak lenses to obtain surreal or ethereal effects. Some of my photographic inventions are listed on my website, contact me for ideas and any kind of project.

    My showreel (feedback is always appreciated!): https://vimeo.com/110965369

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  1. Why did you say "it was hell"? Can you share the experience?
  2. This is great, Pavan - care to share some pics of the repair process as well? (if you have) - thanks!
  3. Congrats on fixing the Webo! I think you should offer servicing for the cameras you know how to fix - when I rounded up Hollywood camera repair shops, no one knew what the Webo was or how to fix it (thankfully it wasn't broken...). You might be able to make some money repairing people's 16mm cameras. One thing that might hinder people's google searches when looking for you is that the title of your webpage for the Webo is "Canon 814/1014/1218 repair" (also here). Congrats for your efforts in fixing the camera. Are you planning on using it? Feel free to share some footage if you do!
  4. Webster, Thanks so much for following this discussion and adding your contribution. Your rig is super - congratulations! But double or single focus? I'm sure you can always find a smaller anamorphic someday either by luck or if you win the lottery... (Are you in the anamorphic shooters group on facebook?) I'd love to see your anamorphic footage. To be honest, I don't get why people place anamorphic lenses in front of a digital camera. For me it only really makes sense in front of a film camera... If you use a 2x anamorphic on a no-crop-needed setup, you end up with a output image a
  5. If you read the rest of the discussion, you can find out that I prefer cameras with a reflex viewfinder and a flat front turret. I think it's a decent camera for someone who doesn't need a reflex system, solidly built and easy to manipulate!
  6. Simon, a lot of people have been using anamorphic projection lenses to capture anamorphic footage of photography. There's a lot of resources online about this, it allows for guerilla filmmakers and low-budget productions to access anamorphic technology at a fraction of the cost it would be with actual anamorphic lenses. Tito Ferradans has reviewed pretty much every option available in his youtube channel. I personally use a Schneider Cinelux with either film or photo cameras (turns a 35mm SLR into a panoramic camera, makes it feel like a Hollywood still...). The tests with the Bolex
  7. Dom, I will try to keep it short, but I really appreciate the effort you put into your answer, and the immense knowledge you have brought to this discussion. Maybe I didn't google very hard (I actually use DuckDuckGo, which I prefer), but I didn't know the full names of the cameras. As it turns out, I consider most of the ones listed here as oddities, and I would *never* consider using them. They all look extremely cumbersome, in the 3-5 kilos range, or are not with a reflex viewfinder, which rules them out right away. What are the "flat base Bolexes" you mention? The Rex-5? All the one
  8. Thank you Simon for this well-documented answer. A pleasure to read it. I find difficult to find a reliable database of these cameras, where I could read more about them and see pictures of them (the Super-8mm format, for some reason, has generated a larger amount of wikis and databases than 16mm - maybe a larger user-base, although less professional?). When I consult the pictures of the Bell & Howell Filmo B or DB (of which there are no more than 2 photos on the whole internet, not sure how easy it is to get one), it seems it has some of the issues I have with the Bolex: difficulty
  9. Hey Simon, Thanks for the input. The thing is, for me the Webo 16mm is simply the best 16mm camera out there, so I am bound to buy that one model that I am the most comfortable with again and again (hopefully I don't lose the new one, there's no reason to!). Let me explain myself: -Spring-powered is a plus for me, not a limitation. I cannot be bothered having to charge batteries if I shoot all day or looking for adapters if I travel the world, -Reflex viewfinder is a must for me. I use weird lenses (see my answer to Dom above with the benchmark link), and I need to be able
  10. You were absolutely right. I carried out more extensive testing on a test bench with a laser rangefinder, and I actually understood where my doubt was coming from: Some lenses, made for newer TV cameras, do not focus at the distance of the ring due to their slightly different screw threads. For these lenses, we must not rely on the markings on the ring, and simply rely on the reflex viewfinder to focus. I attach photos of my benchmark testing of the c-mount lenses, and results here. Thanks
  11. I grew up using an amazing Pathé Webo 16mm, that I was very attached to. It disappeared under sad circumstances during a move. After being extremely disappointed by a Bolex turret 16mm and a Kodak K-100 that I thought I would like just as much, I just got another one after years of missing it dearly, but it seems that the "pellicle" part is missing, because when I put a lens in the mount, the focusing is wrong (for example I put a lens on and focus on an object that's 7ft away and the lens marking reads infinity). Everything else works perfectly well... I assume a previous user just brok
  12. Hey Evan, Were you ever able to fix your issue? What exactly do you mean when you say the viewfinder wasn't working? Was it not focusing right, the way a reflex viewfinder is supposed to, or was there just no light inside? THanks
  13. I grew up shooting a lot of 8mm and 16mm and I recall using several cameras that allowed you to dissolve shots in the camera. I've been wondering for a while now if a dissolve between two shots will look identical when done in Camera and when done in Post. How does the "dissolve" option work when done in camera (in my humble experience)? There are different ways of doing it. I've used cameras that did it in an automated way and cameras that would do it manually. Simply put, in automated cameras, the camera will shoot Shot A and when the user switches the "Dissolve" button on, the camera
  14. I just got a Kinamo 35mm camera, and I'm really excited to play with it soon. Unfortunately, it comes without a user guide, and these are hard to find, even today across the world wide web. I've taken a picture of it and labeled some of the parts in case someone out there can help me figure out what everything is. The model I got has only one little defect, which is that once rewinded the motor just goes straight away, whether or not the shutter is pressed. So I might look for a cover, and only use the hand-crank. I've been able to open the film compartment and the film holder insid
  15. Hi Juha, Did you find a solution to your problem? I would love to see how you fixed it.
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