Michael Koshkin

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I’ve uploaded some pictures here: https://www.dropbox.com/sh/w2ijrym7wsospvg/AADXCFzzlqB-FYgYeC8-xvBCa?dl=0 I also checked the hours and it is at 83 hours.

I’m selling my Canon C300 mark III kit and some other stuff to invest in other equipment. The camera has been lightly used and includes EF and PL mounts. Full list below. Reach out for pics and if you have any questions. NY pickup strongly preferred but I will ship if I need to.Canon EOS C300 Mark III Digital Cinema Camera Body (EF Lens Mount)Delkin Devices USB 3.2 CFexpress Memory Card ReaderCanon PM-V1 PL Mount Kit3x. SanDisk 512GB Extreme PRO CFexpress Card Type BSHAPE V-Lock Quick Release Baseplate for Canon C500 Mark IIAxler Quick Release VCT PlateCore SWX D-Tap to LEMO Power Cable for Canon C300 Mark II (24")Tilta Universal Vmount plateIncludes everything that came with the camera new (LCD, 1 batt and charger. Includes Vmount plate but not batteries.This was over 15K new from BHAround 16.5k after taxAsking price is $12,500Some other gear I’m selling below.Lenses:Zeiss 18mm zf2 f3.5 EF Duclos cine mod (750)Cameras:Cinema Products CP16R (1000)Bolex H16 non reflex (negotiable)Monitors:Atomos Ninja 5” monitor -overheats sometimes (200)Marshall 5” monitor (hdmi only) 125GimbalsRonin (1st generation) (200)Ronin S with extra batts, universal mount, follow focus and XBox controller (400)

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.

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

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

6.33mm of the frame is used as opposed to 5.69mm in reg super 8mm (according to the Pro 8 website).

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?

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.

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...

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?

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

Examples of 16mm material shot with other 9mm lenses would be helpful as well.

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.

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.

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.

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.

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.

Hi All, I'm planning to shoot a low budget music video with my Nikon R10 in a few months and have a question about shutter speed. I generally shoot in 18fps because of cost and I honestly can't tell the difference in look between this and 24fps. But I'm thinking that in this video I might shoot a few short segments of the band playing to the song (lip synching, basically). So my question is, will I have synchronizing problems in post if I shoot 18fps? I was thinking that I would play the song on a stereo while shooting and have the band play along. So will I need to shoot at 24fps in order for the playback speed to synch with the actual recorded song? I haven't tried this before. I will most likely have the film transfered at Andec (Rank Cintel Flying Spot Transfer) at whatever speed I end up shooting in. If it makes a difference, I will likely use a combination of E-64T, Tri-X and Plus-X (the stock I happen to have sitting around). Also, if it makes a difference, the end result will mostly be for viewing online. And one final question that probably ought to be asked in a separate thread. I bought a super 8 camera in Berlin recently at a flea market and it included a roll of Kodachrome 40 that expired in 1980. Is it even worth trying? Or will it be a guaranteed nothing? I know I'd have to send it to Dwayne's in the U.S., but thought maybe I'd give it a try since I hear so much about the stock. I shoot quite a bit of experimental stuff so would probably like the effect if it came out really strange. I just don't want to waste the money if I'm going to get back a black or white roll. Thanks in advance for any help!

I just posted the same on DVX User: Looks like there is a happy ending here! I just spoke with B&H and they have decided to take it back for a full refund (no restalking fee) even though I don't have the original packaging. They are also sending a UPS packaging label and covering the shipping. Ok, so it took talking to 3 or 4 people from the company, but in the end I am very happy with B&H and will definitely support them in the future. By the way, if anyone faces this same situation, I spoke with a guy from Panasonic earlier and he explained that these cameras can be converted from NTSC to include PAL, but not the other way around. So if you wind up with a PAL only HPX17X, it cannnot be converted.

Hi All, I also posted this on DVX User, but thought I would see if anybody here has any advice about my predicament. I recently bought what is listed as the HPX 171E on the B&H website and have had two major problems. http://www.bhphotovideo.com/c/produc...lid_State.html First of all, the camera was listed as coming with a 16 GB P2 card. But the camera was shipped without one. I then looked on the website and the card was no longer included. I have called the company and they are saying that it was a mistake on the website, but they shipped the camera anyway and can't send me the card. Needless to say, I'm very frustrated with this, but I've recently discovered another huge problem. They actually sent me the HPX172EN, not the HPX 171E. I live in Prague, but will be back in the U.S. in a year or so. So one of the big attractions for me was that this camera is PAL/NTSC switchable. But the version they sent is only PAL. My brother happened to be visiting me from the States so I had it shipped to him and he brought it along for me. So now, things are very complicated as even if they will exchange it for the HPX 171, I would have to pay for it to be shipped to Europe and then pay for VAT to have it imported (together would probably cost $1500-2000). The camera is an international special order from B&H so they have a no return policy on it, so I doubt they would let me return it without an exchange. I know that several folks in the U.S. have been getting the PAL/NTSC switchable upgrade to their cameras for about $500, but does anybody know about someone doing this for a PAL only camera? I have contacted Panasonic in Germany and the Czech Republic with no response at this point. I am very close to the deadline for being able to return anything to B&H so trying to figure this out as soon as possible. I noticed when I received the camera that the manual said HPX 172EN, but thought originally it was just a different European model. I didn't realize until going through the shooting modes that the others aren't there. I am able to change the audio from 50 to 60 and vice versa, but not the video format. Apologies for such a lengthy post. It has been a really tricky issue to deal with and at this point I'm really bummed out by how B&H has handled this. I'm tempted to return the other $3,000 worth of goods I purchased from them at the same time if they don't take care of it. Any advice is greatly appreciated. Michael

Hello, I am working on a 2D cutout animation short, shooting in Super 8 on a Nikon R10 with Ektachrome 64T. I've been unable to find much about lighting 2D animation online. I understand the basic 3-point lighting system, but am not sure how this applies to shooting a flat surface. I have little money and the only light sources I currently have are two 500 Watt Halogen work lamps (on tripods)...other than that, a few low wattage household LED lamps. Any ideas for how to do the lighting? The place I bought my cheapo lights from also has 250 and 1000 watt lamps that could go on the tripods. Any advice or pointing towards resources would be greatly appreciated. Thanks, Michael

Thanks. So are you saying that when I start a cartridge that only 1 second into filming and I'm already getting images? And that the image goes all the way until the tape stops?

And another related question: I was getting a slithery sort of sound out of the third cartridge I shot so I popped the cartridge out and then back in, hoping it could fix the threading or whatever it might be making the noise. The sound didn't stop. How much of the cartridge in this place would that ruin? Just the few frames exposed? or more? Any ideas about the sound? I only heard it on one of the three cartridges I tried.

Greetings Film Gods, I apologize for this embarrassingly basic question, but I've had a hard time finding this info elsewhere on the web. I'm sure it exists but perhaps I'm not googling the right thing... When shooting a super 8 cartridge, when does the image begin and end (as in, how long do you have to squeeze the trigger at the beginning before you're in the usable footage zone? Also, will the image be usable until you hear the change of sound that film is no longer running through the camera? or is there a bit of film at the end that won't be usable?). I remember in my brief 16mm studying there being unusable bits, but perhaps this problem is solved with Super 8 as you never have to expose the beginning or ending of a cart when loading/unloading. My first few test cartridges will be back from the lab some time next week and I'm doubting that I'll be able to figure this out just by looking at what I got on film. If it makes a difference, I'm using Tri-X in a Nikon R-10. Thanks, Michael Koshkin