Stephen Williams

Hi, Not entirely, I was shooting 2000 fps yeaterday table top, I chose 10Ks tungsten over HMI's as i can dim the tungsten so overall there is way less heat than with HMI that cant be turned off between takes. Lights on for 30 seconds , dim lights to 10% set up for next take etc. The studio was rather cold so I had to wear a ski jacket! Stephen

18 months is fine, I have used 500 asa film that was 6 years old, it had a raised fog level however rating at 250 asa everything still looked good.

Leonetti Made 15 cameras about 1979 as an alternative to Panavision. I own 2 which very ocasionally get used. They got discussed before here http://www.cinematography.com/index.php?showtopic=27132&st=0&p=203173&hl=ultracam&fromsearch=1entry203173 http://www.cinematography.com/index.php?showtopic=33004&st=0&p=247406&hl=ultracam&fromsearch=1entry247406

As in Contax Zeiss, mainly the same as the Ultracam lenses.

Cooke, Arri & any other manufactures your interested in have web sites. Why not take a look you will have the answer in a couple of minutes.

It's your first post ever!

Hi, When Mcgreggor did a back to back between an EX3 & Red the images looked surprisingly similar. People mix images between 5DMKII, EX3, RED & Film every day and get away with it.

Hi, You build once, then throw it all away as the bearings vibrate etc, build again etc etc. A Milo can be bought new for Approx £200,000 / 240,000 Euro . Speed of Axis, type of track. cameras etc will add more. I know of one in pretty good condition that sold for $100,000. There is way less money in the business as you think, if it was easy lots of companies would make them. Viewfactor Studios took some deposits....... When you have built the rig, you then need to write the software, Mark Roberts spent several years getting everything to work in the late 70's, I was a client waiting and waiting....

Thats probably very worthwile, keep it simple & you wont go far wrong.

Buildings rigs is expensive, there are no economies of scale & you will have to re-do everything several times to get it 'better' it's never 'perfect' I know ILM spent more than a $1,000,000 developing their own card for a PC, in the end they settled for one from 'Cooper' for $1000. It needs to be very rigid, light, able to accelerate fast, portable, reliable.......... I know several people who went bust doing exactly this.........it cant be that diffiult! Bear in mind there are about 40 Milo's world wide, they were 36 in 1999! It's a tiny and shrinking market.

Hi, The Milo has 'Master' axis that work with target tracking, being able to move the rig & keep the camera still can be very useful when bits of the set are in the way or to move the rig to avoid shadows. A few Milo's were originally delivered with a fixed arm, however I think they all got upgraded. If you do a lift then to keep the camera the same distance from the object the arm needs to move. When you tilt the camera down to the floor you loose the ability to 'Pan' by being able to move the rig say 20 degrees clock wise (keeping the camera still) pan is then restored! The rig can do some fairly complicated moves to avoid getting 'stuck'. All those axis are needed! Stephen

Hi Richard, Looking forward to Tom's return too! Stephen

Hi Tom s at stephenw dot com . It's a shame I did not take up Jim's minimuim bet of $10,000,000. Best Stephen

Big pin is 2.55mm (0.1") x 1.86mm (0.073") length x width Small pin is 1.27mm (0.05") x 1.83mm (0.072") so width is very under size, I have a parts manual somewhere I think the sizes are mentioned, if they are I will update.

S35 is at the absolute limit for most cine zooms, everything must be spot on to work properly, most primes have a bigger image circle so it's less of an issue. Using a film camera is the quick fix I usually do, failing that check out a few bodies & take the one that works best or just use primes, it's just one of those little issues that many people just ignore & accept. I do know a few cameras that have been sent back to the factory.

All the ones I have used have been off, some more than others....

Hi, I have used one for S35 film, it was necessary to take off the fitted matte on the front of the lens. I suspect the lens mount on your camera is not exactly in the middle of the sensor. Stephen

Somewhere at home I have some Mitchell movement spare parts, including 2 pins. I am away on a shoot for a week but hopefully I can find then & take some measurements when I get home.

From memory there was a strike at Mitchell over 10c an hour, Panavision then hired many of the Mitchell staff & Mitchell never recovered. I know David Stump has a Mitchell with 2 oversize pins, it's the steadiest camera he has ever seen! Panavision is trying to make a silent camera, the size of the pins will make a difference especially in the lighter cameras.

An important person from Red made a comment about Alexia being released incomplete & in beta, I had to chuckle.

The resoloution drops on the 5D when you go into record, sounds like the convrter cant handle that.

Not convinced as there is clearly an overexposure / sensor overload problem. It's fairly easy to test to see if it makes any difference.

You have to expose the photo properly, pretty sure setting the camera to AUTO would have done better.

The glow is by areas of huge overexposure, expose properly & the problem should go away.

The Viper captures 3 x 9,200,000 pixels or 27,600,000 it's then down sampled. Ben Button looked pretty good to me.