Nick G Smith

You can try holding very simple glass lenses in front of the taking lens and move it in and out to create various effects. I have used a glass ruler before which creates a wonderful shimmering effect when passed across the lens. You can buy some basic lens packs for schools - sometimes they are plastic, and play around with them, problem is usually they are kind of small. Glass manufacturers such as Pilkington are a good place to look as they may have some simple glass lenses for sale. Also check out: http://www.ccjxoptic.com/index2.htm

I've seen this picture before. A production still from 'Dark Summer' by Charles Teton. Feature on 2.35:1 Camera from Sammies UK so before they became part of Panavision UK. I think this is a panavised 2c with an anamorphic lens, can't tell what lens from the picture.

Repulsion is one of my all time favourites. Shot by Gil Taylor who had impressed Polanski with his work on Dr Strangelove. Wonderful camera movement and beautiful B/W photography. Catherine Deneuve looks fantastic even in the distorting wide angles. I have always loved the end shot as it pans across the debris of the apartment and then zooms into the photograph of the family and into the girls face. Check out Polanski's Cul de Sac, again shot by Gil Taylor- not really a pyschological thriller but madly hilarious in its own way.

Check out Carey Duffy's South London Filters site and click on Camera filters. Lots of examples of filters on Macbeth charts and various stills. http://www.camerafilters.co.uk/

I am with Adam on this. I don't like noticeable focus pulls - but I always feel more lefty liberal kind of Nestor Almendros influence, don't impose the camerawork on the viewer, but then again depends on what the director wants. When an actor passes camera and my focus puller asks if I want the focus to go back to the background I usually don't want it to as I want the editor to make the cut on the pass and I don't want the viewer thinking that someone else is entering from the b/g. Then again I am pragmatic and will not make a dogma of it. Depends on the feel you are after.

From Arri manual: Arri variable speed motor 12fps to32fps -16v. No speed higher than 24fps - 12v. Over 32fps - 24v. Can't help on perfectone motor

Van Dieman in the UK used to sell converted Leica lenses and maybe even PL adaptors for them. http://www.vandiemen.tv/index.html Nick

Richard, This looks your 3C on ebay all dressed up in very smart clothes. Are you selling already? Who makes the barneys and do they make the camera much quieter with them on? Did you try any sync sound with this old coffee grinder? Good luck on the sale. Nick http://cgi.ebay.com/Arri-Arriflex-IIIC-PL-...itemZ7617791413

You can buy them from panavision UK Panastore http://www.panavision.co.uk/ Nick

I like to get on the roof of high buildings to shoot skylines. You obviously have to get the production to get permission and take safety harness up with you and tie everthing down. Heavy duty legs and head an advantage, to minimise any wind shake. The M40 or is it A40 is an elevated motorway which runs through the centre of West London and can be good for traffic timelapse. Have a look from Trellick Towers in Westbourne Grove. In daytime I tend to cover the camera with black bolton to stop all light leaks, I once had a light leak on a XTR Prod coming from part of the Video Assist relay which was hard to find, so better be safe. Also, obviously, use a pola to bring out the clouds. Nick

Look at the lastolite 4x4 frames. I have a couple - usually use them as reflectors but they come with a diffusion and you can always tape your own diff on them. They are made of aluminium tubes that pull apart and you velcro the material over them. I take them on every shoot I do as they are fast to set up and help you out of all kind of corners.. http://www.lastolite.com/skylite-kits.php Nick

As Rolfe said finding someone to put a 180 shutter in a 2c maybe hard and expensive even if you manage to find a 180 butterfly shutter. What is important when using magnetic ballasts is that you have a crystal sync motor for the 2c and the power supply for the HMI's is from the mains or a crystal controled generator. At 25fps 50hz, if the power supply is stable, shutter angle can vary from 90 to 200 degrees with litle risk. I suggest you test with the camera and the HMI's at 25fps and 24fps and see if you have any flicker problems. The common shutter angles for the 2c are 172.8, 165, 165 variable. There are some 2c's with after market 180 shutters fitted. What type of motor does your camera have? If it is not crystal sync you run a risk of having uneven exposures and I would agree with Rolfe that using Tungstan lights would be preferable. A number of places offer PL mounts on a 2c - PS technic in Germany -www.pstechnik.de/ Les Bosher in the UK -www.lesbosher.co.uk/ Visual Products in USA - www.visualproducts.com/ Steve Morton in Australia - http://members.optusnet.com.au/~smort1/cinecamods/mods Nick

Hi Evan, In addition to Phil's list: framestore-cfc.com (High end Spirit machines) TK one ltd 020 7343 6666 (If i remember Rank Cintal machine) Outside Soho. todd-ao.co.uk (camden town. I've had one light rushes from them which were ok) BBC Resources 020 8231 9500 (Older Rank Cintal machine is cheaper) Soho transfer houses are predominantly dealing with commercial work, therefore to get a good deal you may have to go in after hours or hope that they are not busy and will do a deal. Soho images is a film lab which does a lot of one light rushes. Nick

Here is a copy of a reply I posted on the 2B/C Forum last Oct under ' Need a new door' There are a number of options to put a video assist on a 2c/b door. Best and most expensive is the Jurgens door. Check out www.jurgen.com. Benefits are 100% of the light to both eyepiece and video assist and pivoting eyepiece. Most probably cost more than you paid for the camera! Then there are partial beam splitters placed in the door. Usually they give around 70% of light to the eyepiece 30% to video assist. Check out Visual Products or for a much cheaper option get in touch with Steve Morton. check out : http://members.optusnet.com.au/~smort1/cinecamods/mods Take Charlie's advice about pola's Next, look at SL cine video door. 100% video door no eyepiece - check out: http://www.slcine.com/html/index.html Then cheapest of all is a video assist attached to the eyepiece. Usually b/w . Again look at Steve Mortons' site or Duall camera at http://www.duallcamera.com/store/VideoTaps.shtml As stated on previous boards the 2c baffles make an interesting effect for watching producers so best explain to director, producer etc. what they are. Nick

About 15 years ago a filmmaker in London, Steve Farrier, built a 360 degree 35mm camera/ projector. The camera would spin around on its axis and expose 7 inches of film horizontaly for each 360 degrees. I can't remember from which camera he got the mechanism from. The feed mag was above the aperture/gate and the take up below. He would project the film with the same mechanism onto a 360º circular screen with the audience in the middle with the camera/ projector. As can be imagined the image on the screen did not have persistance of vision but with the image spinning around you and the machine spinning dangerously at your back it was a wonderful and terrifing experience at the same time. For some reason it never caught on in the wider world. Nick

I have a CP model CRA-6A Xtal motor for my 2C - 24/25fps. The motor states on it 16-24v. I have run it on 13.2v and 24v and it works fine. As regards your photo of the pins my motor is Y+ X- for voltage. Hope this helps. Nick

At the BSC show this year I saw a prototype LED ringlight that Barry Ackroyd had designed and was marketing through Cirrolight in the UK - www.cirrolite.com/new_product_cineled_1.html - if I remember correctly it had a foam backing, either 3220k or 5600k and was very lightweight. Nick

There are a number of options to put a video assist on a 2c/b door. Best and most expensive is the Jurgens door. Check out www.jurgen.com. Benefits are 100% of the light to both eyepiece and video assist and pivoting eyepiece. Most probably cost more than you paid for the camera! Then there are partial beam splitters placed in the door. Usually they give around 70% of light to the eyepiece 30% to video assist. Check out Visual Products or for a much cheaper option get in touch with Steve Morton. check out : http://members.optusnet.com.au/~smort1/cinecamods/mods Take Charlie's advice about pola's Next, look at SL cine video door. 100% video door no eyepiece - check out: http://www.slcine.com/html/index.html Then cheapest of all is a video assist attached to the eyepiece. Usually b/w . Again look at Steve Mortons' site or Duall camera at http://www.duallcamera.com/store/VideoTaps.shtml As stated on previous boards the 2c baffles make an interesting effect for watching producers so best explain to director, producer etc. what they are. Nick