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Roger Richards

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  1. Hi guys, I am looking for matte box options for an Optex 5.5mm lens for Super 16mm. The diameter is 90mm instead of the standard 80mm. Any help would be appreciated.
  2. Hi Brian, As someone who has used the talents and services of both Bernie O'Doherty and Paul Korver on my own foray into Ultra 16mm, I say it s a great time to jump into the water. Bernie modified my Canon Scoopic 16M for U16mm and Paul and his team at Cinelicious have allowed me to bring it to life with their telecine/DI process, with processing at AlphaCine in Seattle. Incidentally, I also have an Aaton XTR Super 16 kit, and find that I can combine the two formats to do what I need.
  3. Chris describes it nicely. The Canon lens on the Scoopic 16M/MS is sharp but the contrast is not biting or harsh, which makes it great for DI work as you can adjust the image more to your liking across a wider range of tones. By comparison, my Zeiss/Optex 12-120 Super 16mm lens has more initial snap and micro contrast. The Canon lenses have a softer footprint, and combined with modern 16mm stock, particularly 7212 100T (my favorite film) or 7201 50D, the look is different than others and very painterly. I like the look of older lenses, they have flaws but provide a relief from the oversaturated, contrasty and cartoon-like images we are bombarded with daily. I love the digital cams for what they do, but film for me is like painting with light on a canvas using acrylic paint. Cannot be replicated.
  4. Outstanding, Paul! I am so glad you saw this thread. People should know that Ultra 16mm is no joke, and these Scoopics can provide a really unique look.
  5. Hi Scott, Thanks for taking the time to watch, and for your nice comments. I appreciate your detailed feedback about the form I was using for the film and glad it worked. This is such a wrenching topic. I really wished to approach it a bit more visually than other projects have done. As I write to you today the burial of 775 more victims just took place in Srebrenica, the 15th anniversary. I was in Bosnia for almost the entire war, mainly focused on the siege of Sarajevo. My feature documentary in progress is called Sarajevo Roses and the Web page is http://sarajevoroses.com You are so correct about Ultra 16mm. Thankfully, Paul Korver at Cinelicious has developed a decent workflow for those of us who wish to use it. You can even do it on their new Spirit machine, as the gate has been mofified for Ultra 16mm and Super 8mm. All of what you see was TK on their budget DiamondClear HD URSA machine. I have seen tests of the Scoopic Ultra 16mm on the Spirit and it is amazing! I had dreamed of owning an Aaton A-Minima for compact shooting but the Scoopic Ultra 16mm is a cheaper and more convenient cam to shoot. There are more stocks available in 100-ft rolls than the special 200-ft A-Minima Kodak stock. That Canon lens holds up really well from about f4-f11. Sweet spot is f5.6. The 7212 footage is so sharp and clean! Cheers, Roger
  6. Thanks very much for your comments, guys. I appreciate it. The Super 8 is the B&W footage and it is a miracle it exists at all. A very respected, normally extremely reliable cinema lab had a meltdown on their line as my S8 footage was going through and ended up destroying several rolls of my film from this take. The guys at Cinelicious dug into the footage to save it, and it ended up usable only converted to B&W, but with extreme grain as it had sat in the developer for quite a bit. The original footage from the Scoopic is really nice, especially the 7212. The compression here is really stepping on it. It really has a unique look combined with the Canon lens. Bernie O'Doherty had performed a LaserBrighten on the Scoopic screen, and added 1.66:1 guides for 16x9 extraction, and with Ultra 16 these guides allow framing for either 2.40:1 or a safe composition area for 1.78:1. I have an Aaton XTR-Plus but decided to use the Scoopic for this film because of the size and mobility. It was really interesting as the TV guys there using their HD cams would look at what I was using and quite a few gave me a thumbs-up :-) Today is actually the first anniversary of when I was shooting this film.
  7. Hi everyone, I shot part of a cine essay with a Canon Scoopic 16M modified to Ultra 16mm by Bernie O'Doherty. The film was just released to mark the 15th anniversary of the Srebrenica genocide. The Scoopic footage is in the latter half of the film, after the archival material and B&W Super 8. Telecine by Cinelicious. Watch it in HD. Film stock is Kodak 7212 100T and Fuji 250D.
  8. Good to see you here, Rich. Thanks for all the help you gave me with film stock.
  9. Very nicely done! The camera held up ok on some of the whip pans.
  10. "Couldn't the camera be for sale after they purchased and resold it? Just playing devil's advocate." No, because I bought the camera in the original auction.
  11. I am putting up for sale my very special Canon Scoopic 16M camera, which has been fully tricked out, cleaned, lubed and adjusted up to top spec (and more) by Super 16 Inc's camera wizard Bernie O'Doherty. If you want to know how cool this Scoopic is give Bernie a call. In addition to full modification to Ultra 16mm, this Scoopic has undergone Bernie's unique LaserBrighten process, and the focusing screen is now really easy to look through compared to stock, twice as bright in fact. The focusing screen has also been marked for the equivalent of 2.40:1 framing, so you can compose almost perfectly what you will be getting on a 2.40:1 extraction from the Ultra 16mm image. Of course, because the original screen is R16, there is a bit more on the edges to the left and right, but you get used to composing with it (have a look at the frame grabs in the link below, no problem with composition there). Here is a link to a couple of frames shot with the camera http://www.cinematography.com/index.php?s=...st&p=299193 What makes this unique for this camera is that Bernie O'Doherty, who is a perfectionist, will no longer do this kid of work for the Scoopic, because of the great difficulty removing the focusing screen. I had asked him to do this and he pulled it off, but at the expenses of a small hairline crack through the screen, that has no effect on the image or even composition. I do not even notice it. Perhaps the best part about this camera is the quality of the 12.5-75mm Canon lens. It is amazingly sharp! Combined with Kodak 7212 100T the quality is a great surprise. You can confirm this by giving colorist Andy Barr (or owner Paul Korver) at Cinelicious a call. I was told that the footage from this Scoopic is the sharpest and highest quality they have ever transferred. This camera was purchased specifically for a documentary project in Europe that required a lightweight and versatile camera with a small footprint. This camera did exactly what I hoped it would, and more! I no longer need its capabilities, having also a full Aaton XTR outfit. For an indie filmmaker seeking a camera that is unique this one fits the bill. You can be up and running immediately. I originally purchased it last July from director Christos Epperson, who used the camera in R16 to shoot The 11th Day http://www.crete1941.com This package includes: *Canon Scoopic 16M Ultra 16mm 12.5-75mm lens, with original lens shade *One original Canon Scoopic battery and charger (works fine and holds a great charge, I get 8 rolls out of it shooting off-speed) * Original aluminium Canon Scoopic case. * A batch of freezer stored 100ft rolls 16mm film: Fuji Eterna 250D, Kodak EXR 100T 7248, Kodak 7201 50D, Kodak 7205 250D; I will have to check the exact number. I estimate about 10-plus rolls. *Canon Scoopic 16M camera manual One can search for a Scoopic and buy it cheap on eBay, but 95 percent of the time you have no idea what you are really getting. Then you have to send it off to be modded, which is more cost and time. I paid $1500 for the camera originally because of the outstanding condition and track record, then quite a bit more to customize it. I am asking $1950 for this package. Please send me a message if you are interested and I will send pictures. Email is rmratdvnetworkdotnet Cheers, Roger
  12. Those people at eBay are real creeps, after alerting them I have had no contact from anyone in two days. Just shows that you really have to be careful. This person must have a hijacked account.
  13. Hi Peter, I cannot speak for Ken Burns but I can offer info from what I read, and also as an Aaton XTRPlus owner (Buddy Squires and the cinematography crew used an XTRProd, the step up over mine). Burns uses film as he prefers the look and feel, and also for long term archival reasons. His films are about American culture and history, so he wishes the material to be available a long time from the present. The Aaton XTR and LTR cameras were designed to be on the shoulder cameras, and they fit perfectly without any kind of brace or padding. The weight with a zoom lens like they used is about 17-18 pounds. The camera itself with film and magazine is 13lbs, the lens and other pieces add the rest of the weight. Super 16mm rawstock is also cheaper than 35mm, although it is is possible to buy short ends and left overs from large productions from wholesalers and specialty houses.
  14. To any of you who might have seen this eBay auction http://tinyurl.com/yd4ueek please stay away because it is a scam auction. The camera listed is copied from a completed auction a few months ago. I have notified eBay and just want to let you guys know.
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