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Michael Koshkin

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  • Occupation
    Cinematographer
  • Location
    New York

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  1. Looking for a 100mm deep field panchro in good condition to complete a set of Series 2/3 Cooke Speed Panchros. Considering a 152mm telepanchro as well. I’m located in NY.
  2. I shared this in another thread but thought it was relevant to this conversation. I was trying to figure out a good wide angle for a Beaulieu 4008 with widened gate. I just shot a test with some very expired PlusX on the Schneider 6-70mm with the Schneider Ultrawide III adapter. Once cropped to 16:9 there was still some vignetting until I pushed the image to about 103-104%. https://imgur.com/a/PzvplA1
  3. Thanks for the research! I just shot a test roll of some very expired PlusX (Schneider 6-70mm and Schneider Ultrawide III adapter on a Beaulieu 4008 with max8 gate). Once cropped to 16:9 it does vignette but I can work with it. Blowing up the frame to about 103-104% gets rid of the vignette and at that point, it's still much wider than anything else I've found. https://imgur.com/a/PzvplA1
  4. 6.33mm of the frame is used as opposed to 5.69mm in reg super 8mm (according to the Pro 8 website).
  5. I wonder how bad this will vignette on a max 8 gate? Pro8 sells their modified cameras with the Angeneiux 8-64 and notes the Schneider 6-66 and 6-70 vignette. Wondering if that’s just a little in the corners or to the point of seeing a black circle around the frame... Is this from the focal length or the physical lens circle/coverage size? And would the wide adapter make it worse? I don’t mind a little darkness in the corners for some stuff, but wouldn’t want to go with this combination if I’m gonna physically see a black circle. Maybe I should be looking at wide 16mm lenses that will cover the larger frame?
  6. Yeah, I was looking at the flange distance of different mounts on there before. Seems like M4/3 and L are the only mount versions of this lens that are more than 1mm greater. Maybe it’s a lost cause. I haven’t seen a mount for either of those to C.
  7. Thanks for the note, Philip. Do you know the minimum distance needed to achieve infinity? Maybe one of the other mount options of the lens gives enough distance if I could find an adapter...
  8. Hi All, I have a Beaulieu 4008 with the Max 8 mod by Pro8 and the Angenieux 8-64. I’d like something wider. Thinking I should probably get the Schneider 6-66 at some point, but I’ve also been looking at C mount super wides like the Century 3.5mm. I know this topic has been discussed plenty on here. I’m wondering what people think about adapting the Laowa 4mm fisheye to C mount? It was designed for small format mirrorless cameras so the lens mount options are not the most ideal (M4/3, EF-M, Fuji X, Sony E and L mount). With a quick search, the only C mount adapter I could find for any of those is a Fotodiox Fuji X to C. Any thoughts on this? Think the flange will be off? Also, since this covers M4/3 sensors, I’d assume that on Super 8mm with a Max8 gate, I’m gonna get the expected fisheye vignette in the corners, but would the lens cover the width of the gate? I would expect it would. If a 4mm is gonna be something like a 16mm fov equivalent in Super 35 terms, I like the sound of the focal length. Also, it’s a quite a bit cheaper solution than buying the Century 3.5... Ive also looked at some c mount security camera lenses. Anyone used any they liked?
  9. Hi Matt, Thanks for the note about the lens. We managed to get a test done before our shoot and that was our thought as well. Because we couldn't afford to rent lights for the test we were practically shooting wide open, and even at that stop, we were able to get very sharp focus from a subject a few feet away. We should be getting the telecine back of our music video tomorrow and I'm very very excited to see how it looks. I'd really like to pick up some more of the CP Ultra T primes, but definitely can't afford to get the whole set. Are there any others from this set that you'd recommend over others? Any that are amazing? Or any that are no good? More specifically, if I were just going to buy 1 more lens to accompany my 9mm, which would you suggest? I've had my eye on the 25mm for a while, but can't afford it quite yet. If it makes a difference, I'm doing music videos, and will probably work on some short, slightly experimental documentaries and short films. Best, Michael
  10. Examples of 16mm material shot with other 9mm lenses would be helpful as well.
  11. Hi All, I was wondering if anyone has a sample of something they've shot with the Ultra T 9mm T1.2 lens for the CP-16R? I just picked one of these up for a very reasonable price and am hoping to use it for some music video projects. I'd love to see something that has been shot with it if anyone has anything online. Searches on youtube and vimeo have left me with nothing so far. Any thoughts/quirks on the lens would be helpful as well.
  12. Now that I think of it, it did seem like the meter wasn't quite at 50 ft. I remember noticing this and being a little paranoid about it. It was, however, Kodak stock, not from Pro8, so they shouldn't be blamed. The cartridge did read "Exposed" so I definitely made it to the end of the roll. Perhaps it is the speed regulator. Any way to test this myself without having to run film? and then to make my own adjustments? I'm not sure if it's worth the 100 bucks or whatever it would end up costing to have it looked at and fixed, when it's too noisy of a camera to shoot with sound anyway.
  13. Hi All, I've just shot a film for a single cartridge festival with a Nikon R10. I had my video camera running on the side to get a feel for audio cues for the soundtrack and ended up with an unexpected problem. The filming was one nonstop take and now that I review the video, it seems it only recorded for 2min 53 seconds. I shot the title before this (while not recording with the video camera) and it couldn't have been longer than 8 seconds. So total, with my camera set to 18fps, it only recorded real time for about 3minutes. Has anyone else had this problem? I understand it is a 30 year old camera or so, so problems should be anticipated. It was serviced by a camera shop about 2 years ago and they said everything was good (of course, not sure they would test things like this). Doing the math, it seems like it must have been recording closer to 20fps. I'm not attempting to synch the sound, so really my dillema isn't so big, but I'm wondering for the future if I ever wanted to do a single cart film with cuts and audio that matched, how I could achieve such a thing. I was using a fresh roll of Vision 200T. I guess, since the film will be played at 18fps, it will just appear at a slight slight slow motion. Is this a common occurrence? I had just put in a set of fresh batteries. I figured that if there was any problem like this, it would run slower, not faster.
  14. I am planning a documentary that focuses on a product that flopped more than 20 years ago (produced by a still prominent, large manufacturer) and I have some questions about copyright and fair use. For starters, the film is not non-profit and would be targeted to go to festivals and seek distribution. The film celebrates the product; it is definitely not an expose or something that has any negative connotation about it. So my copyright related questions/clarifications: 1. Technically, do I need permission from the manufacturer? (I plan to contact them soon but want to approach it in a way that won’t rub them the wrong way). What happens if they don’t give me permission and I do it anyway? I would like to interview someone from the company and plan to show them in a positive light. 2. There are a few filmmakers I’d like to interview and use tiny bits of their films. Do I need permission regardless of the length (say, it is only 10 seconds or so)? And if so, is this something to discuss with the director of the project? Or the studio that released it? Is it only TV where you can use little segments for free? 3. Any other copyright related things I should watch out for? I plan to get release forms from anyone I interview and to try not to record with music in the background to avoid that hassle. I’ve been looking at the “Documentary Filmmaker’s Statement of Best Practices in Fair Use” and am still not sure where exactly I stand or if this only applies to non-profit, educational docs, or all: http://www.centerforsocialmedia.org/files/...r_use_final.pdf If I produced a non-profit organization and created the film under that, would any of this change? (And could I do this in retrospect? Say, begin shooting in a few months and then get the non-profit set up later in the year, but before completion?). Thanks in advance for any advice. This is a very low budget project and I really don’t have money to hire a lawyer. And please forgive me if any of my questions are naïve. I didn’t go to film school. :unsure: I’m going to make this film regardless, but it would really help to get a better understanding about these things first and how I should approach some of these issues.
  15. Hi All, I've just received my new HPX 171E and can't wait to get shooting with it. I have a Macbook Pro, but my disc drive is being weird lately and not wanting to read the driver disc. So my question is, does anybody know what exactly I need to install as far as drivers/updates, etc? I have bought E-Series P2 cards and I believe I read somewhere that there were necessary updates for these. I've looked on Panasonic's Support site but it is quite a mess. Anyone know exactly which files I should install? This is a link to the site: https://eww.pavc.panasonic.co.jp/pro-av/sup.../e/download.htm Thanks so much in advance if anyone knows.
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