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Fabrice Ducouret

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About Fabrice Ducouret

  • Birthday 03/15/1981

Profile Information

  • Occupation
  • Location
    Oakland, California
  • 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. Wow, that's a great deal! Impressive. Might get one too if I find a similar deal, although a lot of the ones I see don't have a manual crank option. Where did you CLA it?
  2. Thanks Aapo! I think part of my interest lied within the portability, and part lied within the fact that it's probably the only small 2 perf 35mm camera (quarter frame by still photography standards), so I wanted to play with it as a photographic instrument, and experiment (maybe put some anamorphics on it, why not... hehe). A mix of the Lomokino for the idea, and the Yashica Samurai for the manufacturing quality (motor drive/zoom lens) would have been amazing. I also have a 35mm Kinamo - also very small and hand-cranked - but the loading of the film is slightly more tedious so I haven't used it yet. How much did you pay for your Konvas including lenses?
  3. I received my Lomokino yesterday. I always loved the idea of an amateur 35mm 2-perf camera for a long time, but finally decided to buy one. I've used other (better) film cameras in the past (Super-8, 16, 35...) but still was very curious to see what could come out of it (and still think that someone should make a quarter frame still film camera! but that's a discussion for another day). Here are the following issues I encountered while trying to shoot my first roll: Loading The crank that one uses to move the film in the camera is designed in a way that you can still turn the crank even if the film is jammed or stops because you're at the end of the roll. When that happens, it produces a clicking sound but the film doesn't move in the camera as it should. This was my main issue, as when I loaded the film, the crank would click and the take up spool wouldn't turn to secure the film on. Filming When I was filming, I feel like the same thing would happen: instead of moving continuously through the camera, it seemed that the film would move a bit, then stop, the crank would make the clicking sound, and the film would move forward again. In the user guide, they recommend looking at the rewing knob to see if the film is advancing in the camera. While I was shooting, the rewind knob would move then stop then move then stop etc. As I had expected, holding the camera steady was extremely difficult (there is no handle of any kind). I will definitely try my second roll with a tripod. Rewinding Rewinding was extremely difficult. I felt like the materials were very flimsy and risked breaking as I was rewinding. The rewinding knob kept popping out so I had to push it down at the same time as I was rewinding. I am not sure yet if this resistance was due to the path that the film takes in the camera, or if I just used a roll of film that was particularly jammy, or if it's just really difficult for anyone. I haven't gotten the roll back, but compared to my other 35mm attempts, this was sadly a bit disappointing. Could anyone share their experience shooting with the Lomokino and if they've hacked it to make it more usable?
  4. Really enjoyed watching these high-budget home movies 🙂 Keep it up, very inspiring.
  5. I recently got a Double-8 (not Super-8) Bolex C8 camera in near mint condition. I mostly shoot Super-8 as far as small film gauge goes, but given the condition of the camera and how fun it looks to use, and also that I’ve never used this format, I thought I’d give it a go and get film and a good lens for it. I got a really nice D-mount 1.4 Yashica lens for it, but now I’m wondering how to expose film properly, since the camera has no electronics or auto settings. For still photography, I use iPhone lightmeters like Lux, and get really good results, but are there user-friendly ways to measure exposure settings for film, based on the chosen frame rate?
  6. Thank you guys. Are there good and bad ones? Large and small ones? What model do you guys have?
  7. Hello, I am looking for camera loading services in the city of Los Angeles. Drop off camera and film, pick up the next day with the camera loaded. The camera is a kind of ancient, 35mm camera which takes 25 meters of film. I have the camera, I have the film. I'm just really afraid to mess it up and expose the film to light while doing it because I don't have a darkroom.
  8. Dang, sounds like a challenge! At the same time... challenges can be good... and exciting 🙂
  9. Just found this post - very interesting but it seems like the OP's website is dead now. Were there commercially sold "reloadable" Super-8mm cartridges? I would very much like to find a way to double-expose Super-8mm film and maybe transferring film into a cartridge that is easy to open and close might help... If anyone has a link, I'd appreciate - thanks!
  10. This is a great discussion and I am also interested in rewinding Super-8mm film. There has got to be a way - like, a cartridge that can be opened and closed easily (like the reloadable film cartridges) and the user would be able to open, rewind, reload. But what no one answered yet is why it wouldn't be possible to just rewind by cranking the cartridge's spool in the other direction, before reaching the end of the film? So you'd lose maybe half a foot of film to make sure it's still spooled on one end and then just "rewind" it? Any modern screwdriver with a large flat screwhead would do the job... Has anyone tried that?
  11. Why did you say "it was hell"? Can you share the experience?
  12. This is great, Pavan - care to share some pics of the repair process as well? (if you have) - thanks!
  13. 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!
  14. 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 after anamorphosis that is 7680 x 2160 for stills and 3840 x 1080 for video as seen here - pretty useless imho. But when you're working with a square-ish format, now we're talking... By the way, how do you offset the anamorphic or the lens to align them? Here's my Pathé and the Schneider Cinelux seen from above, they're not aligned because the lens of the Pathé and the tripod socket are not on the same axis. If you know the name of the lego piece I need for my Fotga rail - it'd be much welcome!
  15. 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!
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