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Nick G Smith

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Everything posted by Nick G Smith

  1. I think it was shot on 16mm - Oliver Stapleton has a website that might say or you can email him with the link on his site. http://www.cineman.co.uk/ I recently purchased his set of Canon K35s which he used on Absolute Beginners shot around the same time - they have a true circular iris so the out of focus highlights produce a wonderful circular bokeh but the lens coatings (or lack of) give double - treble kicks on in frame light sources - I love the flare just don't like the kicks. Nick
  2. Hi Tim, I have a CE base on my 2C - It is a great motor, I have found it reliable and gives the camera a new lease of life. You can run up to 30fps on 12v. 42fps on 16v and 80fps on 2x12v If you get in touch with CE they can mail you the operating instructions if you haven't already got them. Some may say that it makes the camera more difficult for handheld but I have never had a problem. You can attach bridge plates to it, it has 2x 11pin fischer plugs so you can attach on/off , timelapse, etc and pull 12v from them. Nick
  3. James, I have a set of round front anamorphic PL mount Lomos - 50/75/100 . I have recently been using Schneider 138mm +2 and +3 diopters to get some particular close up shots. You have to mount the diopters in a matte box. I have been using them with a MB 19 - be careful with the 50mm that you do not crop into the picture area. I stop down if possible when using the diopters to give a bit more dof - They have worked great. Nick
  4. Hi Christope, There are a lot of old arri standard mount lens around in bad condition - schneiders/ cooke pancros and kinetals/ zeiss standards etc. that you can mount with a PL adaptor. You should be able to pick up the ones in bad condition cheaply and experiment with various acidic substances to take off any coatings - you could smear the lens with agar and grow your own mould (bodily fluids are always a good start). There was a BBC documentary on Sally Mann sometime last year when she was photographing decomposing corpses, I think, onto glass plates. Looking at the reproductions in her recent book I was wondering how much of the abberations were coming from the camera and how much came from the process of the glass plate. I had some glass plates my grandfather took around 1910 which had been attacked by mould as they had been stored in a damp room - I contact printed them all up - they were pictures of patients in a TB sanitorium - faces appearing through streaks of mould - reminded me of a german experimental film I saw about 20 years ago when they buried the neg in the ground for a year, dug it up and contact printed it. Maybe Stan Brackage did the same? Nick
  5. Hi Tim, A 2C only exposes each frame once. With one revolution of the butterfly shutter 2 frames are exposed. I have a 2C and steadiness is very good for a camera without a registration pin - you have to make sure your top loop is correctly set - 15 perforations between mouth of mag and topmost movement of claw - springs on film gate are correctly set at the right tension and claw and gears are not worn or otherwise damaged. Jon Fauers statement that each frame is actually exposed twice is incorrect. Nick
  6. Bruce Thanks for the link, interesting article on slit scan shutters. Nick
  7. Hi Bruce, I don't give a toss about the heirs of Mr Lartigue, but as 'Image Makers' on a cinematography board we should try and give authorship credit even if the photograph is so famous not to need a credit. My question about the 'bendy' effect on the Latigue picture was its relevance to a spinning shutter as I am unsure if a focal plane shutter would have been utilised in a camera from 1912 ( Did Mr Latigue just cap the lens?) On fast pans with film cameras I tend to see motion blur more than distortion - maybe I should look at some narrow shutter angle whip pans. I would love to get that 'latigue' effect. Reading the link to first reduser showthread that Mark Peploe highlighted there is a great answer on how a CMOS chip with a rolling shutter works - # 159 Nick
  8. Les Bosher has collimated some lenses for me before, but being in Wales you have to ship them to him. In addition to the techs mentioned you can try asking the lens techs at hire companies - arri media, one8six, ICE, Axis etc. Also Cristopher Smith at Van Dieman still has a collimator and use to take the lomos apart and rehouse them - www.vandiemen.tv/index.html. Tell me where you get them done as I need a 100mm lomo roundfront collimated next month.
  9. I have shot quite a bit in India and Indonesia and always take a couple of lastolite 4x4 collaspable frames (great for bouncing light into interiors) and lightweight lamps such as Rifa 1ks, dedos, divalites etc. to supplement the old fresnels and hmi's that seem to be around. For exteriors I always want and end up wishing for large butterfly frames. In Bali I found someone with parachute silk and the local grips used 4 bamboo poles to hold it up - I could pan across the bamboo poles with no problem as they became just part of the local fauna. Mostly great times and wonderful innovative crews.
  10. Last week I did a side by side test with Fuji Eterna 250D 8563 and Kodak Vision 2 250D 5205. Day exterior T2.8 / .6ND + True Pol / 1/2 stop over exposed - with One light Print to Vision Colour Print film. As David said, contrast was higher in the Kodak - skin tones on both stocks were true and very similar ( we were filming 3 black actresses with a range of light to dark skin) - grain structure was also very similar, I had expected to find that the fuji stock would be slightly grainer but this was not discernable. Shadow detail again seemed similar (last time I did a side to side test with fuji and kodak was about 10 years ago, '93 200T I think, Kodak had far greater shadow detail). Both stocks looked excellent but in the end we went with Kodak for the higher contrast. If you are going straight to a TK the contrast should not be an issue.
  11. Equivalent focal lengths can be worked out here. http://www.panavision.co.nz/main/kbase/ref...lenseqvform.asp
  12. Hi Rolfe, For a cheaper option you could look at the new Teletest 7" 0ZL7088 1-HDSDI in and 1 out - has an option for 2.35:1 and radio link. I have had a couple of the older teletest lcds with radio link for about 3 years and they are built well and have stood up to being around a directors neck - good for framing and focus. http://www.teletest.co.uk/ Nick
  13. Ikonoskop A-Cam - c mount/ 100' load http://www.ikonoskop.com/index.asp Aaton A -minima - Pl or Nikon mount 200' ww.aaton.com
  14. This may not be of help to you but I think it is possible to do a similar process on a NLE. Many years ago I made a number of 3 colour films from b/w neg on a 16mm Debrie contact step printer. If I remember right I would make up a high con matte on 553 stock for each colour pass. The matte would be placed behind the neg and control the area of colour pos stock to be exposed. The pos stock was then rewound and exposed for each colour. Colour control was using a subtractive process and I remember doing a lot of testing to get the right colour. I used to really like the way the colours would 'bleed' into each other, and would start printing different passes one of two frames out of sync to make the joins imperfect.
  15. Hi Thanasis, You could try Les Bosher in the UK, he may have some bayonet mounts available and will always be able to fit them for you. Contact him through his site: http://www.lesbosher.co.uk/
  16. I think a couple of factors come into this. Is the problem the amount of direct light into the actors eyes or the heat from the fixtures? A lot of actors hate a frontal hard souce, bare bulbs/ fresnels etc. while if you soften the light through a large silk or bounce and diffuse they will not have a problem. I have had a couple of 10ks through a silk next to the camera without problems for the actors, although the heat on the focus pullers head is another issue. If you are in a large studio I don't find heat such a huge problem and I tend to bring in a lot of tungsten light as you can have time to set up and they are not expensive to hire. If the area to light is small and heat from tungsten light is a problem then going with kino's and hmi's is a solution but far more expensive. Rolfe, i am interested in seeing your 1.6k ringlite! I tend to use the kino Kamio if I need a ring light and dim it right down - about 10W! Am i just molly cuddling the actors?
  17. Carey Duffy's South London Filters Site shows examples of certain filters. http://www.camerafilters.co.uk/ Also look at the Tiffen and Schneider sites http://www.schneideroptics.com/filters/ http://www.tiffen.com/
  18. Switzerland is not in the EU. EU stands for European Union, Switzerland is not a member. It has its own currency, swiss francs I think. Many ebay sellers from countries outside the EU and US, list in Euros or US dollars in the hope that those people in the larger economic dominant markets will be more interested in buying their items. Not to cast any aspersions on to this seller but there are rogue sellers in every country even if I dare say it in the US!
  19. You can get SR3 GG from Arri http://www.arri.de/ Camera rental companies will hold GG with different format markings so give your local company a call. Shurco tools in US Phone: 626-966-8606 Lee Lighting in UK manufacture GGs
  20. There is a 2c bayonet turret on ebay, auction finishes tonight http://cgi.ebay.co.uk/Arriflex-35mm-Arri-I...1QQcmdZViewItem
  21. I was told by my shepperton friends that the film underwriters/insurers were not happy with the master material being in digital format and insisted it was shot 35mm. ( could just be hearsay!)
  22. I have had a divelite 200 for about 3 or 4 years. Use it with tape and film. As stephen says the tungsten tubes have a green spike so I carry 1/4 to 1/2 minus green to correct for film and plus green for a dirty green florrie look. I tend to buy Osram tubes 930= 3000K 950=5400K. They are good adaptable small lights and have held up to the rigours of travelling around the globe. I strictly use them on projects when I don't have a gaffer as gaffers or sparks will usually tear the ballast off and impale them on a c-stand!
  23. Yes. John is right - a canon k35 25-120mm macro. Have to eat my matte box.
  24. This is like spotting aeroplanes. Certainly not a canon lens. Anyway here is the website : http://www.makingmymovie.com/menu/ds.htm
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