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Oliver Knights

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About Oliver Knights

  • Birthday 09/06/1976

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  • Occupation
    Camera Operator
  • Location
    London UK

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  • Website URL
    http://www.i-do-films.co.uk
  1. Hi; Very cool, so what camera, what stock and what post workflow? Any post stabilization here? Great to see the little format being used for a professional aplication, something I'm seeing more of I'm glad to say.... Regards
  2. Hi, I own both and use them often for wedding shoots. The Beaulieu is by far the better camera in both build and concept, I use the 6080 more though because I'm often in sound critical situations and it's VERY quiet. It's also been mentioned by other users that the quality control at Nizo dropped of significantly during the final days during the 6080's reign. The Beaulieu ZMII is THE cinematographers camera in the super8 format and a well serviced example will provide stability and sharpness plus manual over rides and a true ground glass viewing system for accurate focus. The Schneider Optivaron 6-66mm zoom is considered one of the best super 8 zooms ever made. Shooting with the ZMII is rewarding but they require regular servicing just like any other truly professional film camera in the larger formats. There are many other great cams out there like the Nizo Pro too though. Hope that helps a little Regards
  3. Hi; Well it seems a +10 macro filter is just the ticket for this bind. I was able to get very crisp focus with my Schneider 10mm Cinegon/+10 macro/Wide aspheron combination. I intend to use it with a Schneider UWIII but did not have the correct step up ring around so have used a more compact but less extreme Bolex aspheron to test with for the time being. I'm hoping the UWIII will get me around a 5mm type field of view and be focus free for certain action shots I may face....... Hope this is of some help of interest to others.
  4. Hi; Sorry no answer from me but I'd also like to know if any one has done this, I'm thinking of coupling a Nizo UWII with a non macro C-mount Schneider prime for something and think I may need to try something similar with a macro filter, it seems it could be a needle in a haystack to find the correct one if it even would work at all? Regards
  5. HI; Ben, Do you own or have access to an external light meter? It would help you out a fair bit with this situation, I would set it at 400ASA and go around your location to get an idea of an average reading, if it's reletavely consistent choose your F stop and rely on the negatives massive latitude to cope with the changing light during the time lapse, that and a professional transfer can do wonders.... If an external meter is out then yes if the 500T will be seen as 100T by the Nizo then underexposing by a stop would put you in a decent area. Also I thought of you the other day when I was out shooting some E64t in the sussex country side, it was DULL and I barely managed an exposure on daylight setting on a Nizo Pro, I'd seriously consider the 200T for your daylight time lapse sequence if it's dull weather, you could even leave it un-corrected to get as much sensitivity as possible and have your telecine house correct it back afterwards, again it's latitude will help you a lot in dull weather. Regards
  6. Hi; Millenium II Scan in 16/9.... Gotta be Pro8 no? regards
  7. Simon Wyss; "If I can give you advice: Forget Super-8, switch to Double-8. There you have really fine cameras, solid and reliable, with interchangeable lenses. I can offer you - for instance - Bolex-Paillard H 8 Reflex (I have three of them), an Agfa Movex Reflex that pulls through 2000 frames on one wind, or if you want one of the Bolex-Paillard pocket cameras like B 8 (two-lens turret). Or - the very compact 16-mm film camera of Eumig. Or - you start with a simple Bolex-Paillard H 16, bodies are available for £ 200. Double-Eight raw stock: Fomapan R(eversal) 100, Ektachrome 64 T(ungsten), and more." Oops I see you're talking about Double-8 not double super 8, my mistake.
  8. Hi; Wow Simon that's some nice poaching right there! Tom check out DS8 if you like the sound of it, I believe as great a format as DS8 is on paper you will be living inside an even narrower niche than S8 already is! as far as stocks, labs, and service are concerned. S8 has a much broader user base and that's a big deal... Regards
  9. Hi; No worries, I've not used the Nizo's for neg stock but off the top of my head I think it would rate the 200T as 160T (it's top asa for tungsten) But I would let any one else chime in on this before shooting as the cart/notch goalposts tend to move around with different cameras and I'm not completely sure for the 561, I also use the listen approach to fps settings, just use a stop watch. It wont really matter if it's not quite 2fps exactly (which it never will be without crystal sync anyway) Good luck
  10. Hi; I would say 64t will be ok outside in daylight even if dull, if the light was pretty much constant and uniform then manual exposure would work but by the sounds of it you could pass through any number of variants so I'd go with auto (you may be suprised how well this works) Autom.b will not be needed for daylight shooting outside and would most likely give you major overexposure in any brighter areas (looks great under tungsten when ordinary exposure just aint enough or any evening to night shooting) It's easy to tell if it's needed for a scene, if you can't get enough exposure shooting normally then go to Autom.b! You will not be able to control the motor speed for this as that's controlled by the amount of ambient light so playback results may differ during your night sequences compared to the steady 2fps you want for daylight shots. I would try 64t for both regular and Autom.b personally.... I've done similar shoots and this cam/stock combination usually delivers for this type of stuff. Just think like your camera and don't be afraid to stop and switch to Autom.b before entering long tunnels that you want to be more than just a black space! Regards
  11. Hi; Try these guys in London http://www.sendeancameras.co.uk/ They repair Nizo's and Canons mainly, did a good job with my Canon 1014XLS, bought it back from the dead in fact! Films a steep learning curve but it really pays you back with interest when you learn how to control it.... Regards
  12. Hi; 1 - I would use an external meter set at 400 ASA or alternatively set your cam to 400ASA (if you can)? That's gonna be nice and accurate and I would think allow you an ok exposure in the woods. 2- Correct, full carts only. 3- Read this... http://onsuper8.blogspot.com/2007/12/push-me-pull-me.html Regards
  13. Hi; Some labs will push 100D up to 2 stops (www.andecfilm.de). Post pushing probably won't affect the darker parts of your shots as much as the highlights but it's kinda like the 100D becomes 400D, expect increased grain.
  14. Hi, Looks like the light meter on your Nizo is stuck wide open! Is it? That's why only shadowy footage looks ok, can you confirm if the needle moves when going from dark to light? Real shame this happened! Without meaning to offend, you gotta check these basic things out before you burn through a tonne of important footage....!!! Super8 is just the same as any of the larger film formats, tests and checks apply especially with 30 year old cameras. Feelin' ure pain though Regards
  15. 1st official post, maybe ask one of the top wedding film makers earning a living from Super8! Like 50 foot films, bliss, reel 60 etc Who'd a' thunk it!? It's a growing field.... I shoot them for my wife's wedding film business myself. Regards Oliver
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