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Xandy Smith

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About Xandy Smith

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  • Birthday 08/22/1979

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    Los Angeles

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  1. I've gotten a couple calls, but it's still here. Email me if you're interested. xandy AT xsfilm.com
  2. Everything you need to get into beautiful Super 16mm filmmaking! I am selling an excellent Super 16mm film package, guaranteed to work. This Bolex EBM reflex camera has been cleaned and lubricated and was recently converted to Super 16. I understand it was not used much before I got it, and since, I've run a few hundred feet through it with daylight spools and another 1600 feet or so through the mag, all Super 16, and all came out beautifully. I'm including lots of accessories, from the Tobin unit which gives the camera crystal sync at 24 and 25 fps to plenty of documentation and manuals including the great Bolex Bible. The zoom lens is modified to allow it to accept convenient 82mm filters and I am including a circular polarizer. Everything is in great condition except maybe the case (but it works fine) and the batteries I've been using could probably use a fanny pack or belt clip just to make them more convenient. Also, the counter on the body does not work, but could be an easy fix. The one on the mag works fine. This is an incredible value for an entire collection that has been built piece by piece over the years from manuals to lens accessories, and carefully cared for. Included: Super 16mm Bolex EBM 400' magazine Switar 16-100mm zoom, f1.9 Switar 25mm, f1.4 Tobin crystal sync adapter (24 or 25fps) original aluminum case Two 12V batteries and charger Matte Box and rods C-mount adapter Bolex EBM Manual Bolex Bible (fantastic guide to everything Bolex) 82mm Polarizer Various gelatin filters- NDs and 85s several cores and daylight spools gray card Two unopened 100' Vision2 daylight spools (100T and 50D) Two Vision2 short ends (500T and 200T) My asking price is $2,500 Please contact me at xandy AT xsfilm.com I'm located in Los Angeles and would prefer pick-up or delivery, but shipping can be arranged for additional costs.
  3. I'm looking for films set in the rural South of the US, particularly anything like the lush countryside of Georgia. I may be working on a film in that setting and am just looking for inspiring visuals from that type of countryside. I would be especially interested in slightly surreal interpretations of that setting, sort of like O Brother's version of Mississippi. Just to get it started, I recently saw Undertow, shot by Tim Orr, which certainly takes place in that part of the world, but I wouldn't describe its look as surreal at all. Any other ideas? Great suggestions?
  4. This is the director here. I can't be as specific as Mike the DP, but the interiors were primarily lit with Kinos. I think he had a 9 light outside the windows in the bar and the house, and made some use of a 1200 HMI, too (thrown in the doorway at the pawnshop for example). He used gels to introduce a tinge of green on some lights and we also punched a sharp red accent light into several shots in the bar. We used a hazer in almost every sequence, but in a few of the layered and split screen effects shots, the disipation of the smoke was an issue (thanks to the ability to play back the takes instantly, we were able to correct those problems). The performance scene was lit with two 9 lights and two Dynos with a bunch of pars peppered in and a couple of pars with diffusion for fill on the close-ups. Hope this helps. Thanks for the kind words and helpful comments. -Xandy
  5. I recently tested this stock and during a flat pass in telecine, could tell little difference in latitude between it and Vision2 stocks. There was a difference, for sure, but to my eye, and for use in telecine, I would not consider contrast and latitude much of a factor in choosing this stock.
  6. Hey- just thought I'd post my test results. First off, this was not a super-scientific test. I did not shoot the same subjects with each filmstock. But the film was all properly exposed (I was metering to expose about 1/2 stop over) and often the subjects are similar, although a setting might range from a locked-off contrasty sunrise scene, to 50mph running footage of a car in overcast weather. I shot 7245 50D, 7212 100T, 7217 200T, and 7205 250D totalling 600ft of Super 16. Basically, I'd say I agree with J-Ro and the DP he spoke with. While grain is definitely NOT non-existent on the telecined footage, I'd be surprised if anyone could identify one stock from another. That's not to say the grain doesn't vary, it does. I was definitely not impressed with the 7245's grain structure, but I was impressed with its latitude. The flat-passes we did in telecine seemed comparable to the Vision2 stocks. Meanwhile, there are many shots on this 50asa stock where the grain stands out more than on any of the others. Likewise, sometimes grain stands out more on the 100T than the 250D and vice versa. Point is, for my purposes at least, it seems all these films are great, and subject has much more influence on apparent grain than the speed. Meaning for me, that 50asa is just too slow with few benefits over the 250 (we did find ourselves waiting for light to shoot with early in the day of course, and that's not something I want to worry about). On a side note, I shot the 100T and 200T both with and without an 85, and can tell no difference on the digitally corrected image. Also, I would mention that the 100T does stand out a tad from the other stocks as just feeling like it has tighter and smoother grain, generally speaking. I realize this little write-up of my results isn't exactly scientific, but thought it might still help someone in the future. I also tried not to rattle on about it, so I'm happy to post more specifics if anyone is interested.
  7. I converted my EBM at Cameraspro with Guy. He was extremely helpful, very friendly and ended up working extra hours for me. It was also $895, a tad cheaper than the prices mentioned so far. I've shot tons with it since and it all looks great. Nothing but good things to say for cameraspro. That's my 2 bits.
  8. Thanks again guys. I do agree that when reduced to standard video resolutions, the grain is barely an issue. Although I would also have to say I have recently shot 7217 200T and 7218 500T and could tell a difference in grain, and will probably avoid the 500 speed unless I really need it. Another interesting side note was that my colorist used to be a DP and said he used to think the telecine had so much influence on the image that stock didn't matter, but after transferring as much film as he has, he now feels stock choice has a large impact on the final look.
  9. Thanks, John, for the quick reply. I managed to get the money together for a stock test and a nice telecine with my great colorist. I'll post my results when I'm done. I plan to test the 7212 both with AND without the 85.
  10. Hello- I believe this is my first post here, but I've been reading for months. Wonderful forum, so many great people. I am working on a Super16mm spec car commercial and would like stock suggestions. I am trying hard to get money together for my own tests, but anyone else's experience would be most appreciated. I'll be shooting all exteriors (except for a couple window-lit interiors) with fairly limited lighting control. The spot will be finished on 16:9 anamorphic standard definition. I am looking for a look as close to sharp and clean 35mm as I can get, and the final look will be somewhat blueish and desaturated (I have an excellent colorist). Also, I will likely be shooting with an A-Minima, so no Fuji stocks. Here's what I'd been considering, I'd love comparissons- 1) 7245 50D- seems the obvious choice, but once i throw a polarizer on and am pointing through a windshield into a car, I am very concerned about having enough light, particularly in CA's June-gloom (I've been carrying a lightmeter around and results scare me). Also, I haven't shot much EXR and love the latitude I get with Vision2. 2) 7212 Vision2 100T- with NO 85. But I'm a little worried about reddish shadows. I'd love if anyone could compare this stock in this situation to 7245. 3) 7205 Vision2 250D- Never shot this stock and I feel the speed/grain is really getting me away from my desired 35mm look, but in the context of the situation, and other ideas, I'd love some input. Sorry that was so long-winded- I tried answering my questions with past posts, but just can't do it. Thanks in advance for any help.
  11. Yes, that accurately describes it. Why?
  12. For what it's worth, I borrowed a Schneider 10mm C-mount lens and used it on my Bolex EBM, converted to Super16 by CamerasPro (highly recommended). Obviously it's not an RX lens, so I tested before use, and have now shot plenty of footage with it (using a C-mount adapter), with NO backfocus problems. Sharp as a tack. There is a VERY SLIGHT amount of vignetting in the top right corner on the Super16 frame, but it's hardly a concern. Recently I've been looking into using a 25mm prime because the 100POE zoom i have doesn't focus any closer than 5' and I'd like to get closer sometimes. I've borrowed a non-RX Switar 25mm from the same friend and have to admit I won't use it on anything important until I've tested it first. But I've been told the wider the lens the worse the effect of it being non-RX. And since I had no problem with the 10mm, I'm optimistic about this 25mm. If anyone has some actual experience with this lens, rather than just the same stuff Bolex officially says, I'd love to hear...
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