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Kyryll Sobolev

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Kyryll Sobolev last won the day on March 19 2017

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About Kyryll Sobolev

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  1. jeremy benning explains in detail how he has prepped 'the expanse', at least from the lighting/set design side and this is an interesting podcast as well, where jeremy talks about shooting a tv series
  2. I have two well-stocked Digital Bartech kits for sale Full description of items and better photos available here: Kit 1 https://drive.google.com/open?id=1owEPj7XZVyePTZ9E4warbng8wn4zKCUl $4500 USD Kit 2 https://drive.google.com/open?id=16kAQqs01NUKoFEcdCdaQTUKDuB2nOCF6 $4500 USD If you buy both kits at once, I will discount the price to $7500 USD Also, I have some accessory cables which you may find useful: https://drive.google.com/open?id=1z42envvzhL8wpijqqyzIXKen18Go_Bgd $100 USD Located in Toronto, Canada. Buyer pays shipping.
  3. up for sale is my vintage Ronford Baker F15S fluid head 100mm bowl decent condition and actually still working great for its age all the photos can be viewed at this google drive link notes about the travel case: - the right-side latch is broken (you will see in the photo) - the bottom of the case has a small hole in it, from where the head used to rest (i now let it rest on the tie-down, which is not as sharp) - case size is 12"x13"x14" - case weight with head: 34lbs $400 USD, buyer pays shipping located in toronto, canada
  4. for sale: Canon C300 mki (1920x1080) with a lot of accessories a lot of photos and item description here: https://drive.google.com/open?id=1Gh-fCP6aBY2U5W25R2TnUXIhmR4uUrKM $2500 USD buyer pays for shipping shipment from toronto, canada - google drive link has notes on the package size and weight
  5. i have an old soviet document for OCT mount specs on the very last page are PL-mount specs https://drive.google.com/file/d/0B8UCfj_Milp_dGZfMFAxVHFTYXdiZk5ZeDAwSDN5TGtuSTBr/view?usp=sharing these are not official specs either, but soviet attempt at replicating it
  6. page 2 INSTRUCTION for use and development of b&w reversal film stocks OCH-45, OCH-45 type L, OCH-180 spectral light sensitivity of this film is panchromatic you cannot use this film to get a negative keep in mind that for film stock with perforation type "S" you must use film cameras and projectors with Super-8 format keep in mind that because this is a reversal film stock, the dynamic latitude is significantly less than a negative film stock would have. because of this, correct exposure of the film becomes significantly more important light sensitivity of this film gradually decreases over time (up to 30% by the end of best before date). you must account for that in your exposure. to arrive at a correct T-stop use the following film-speed numbers: OCH-45 daylight 45, tungsten 32 OCH-180 daylight 180, tungsten 250 another table for adjusting exposure while using filters ZHS-12 (light-yellow), ZHS-18 (dark-yellow), OS-12 (orange), ZHZS-9 (green-yellow) after exposure you need to develop the film in the shortest time period possible table with steps of developing process/time in minutes/temperature washing of the film at each stage of development (so steps 2, 4, 6, 9, 11) has to be done in running water only flashing the film is done by a tungsten light, 100w, placed 1 metre away from the film RECIPE (to make the developing baths) bunch of chemicals
  7. page 1 before gluing/stitching you must clean the film's emulsion and lacquer layers on the spot where you will be gluing/stiching STORAGE keep the film in cool dry place, away from source of heat, and protect the film form direct sunlight. keep in mind that the film will be negatively impacted if it comes into contact with active gases (ammoniac, acetylene, hydrogen sulfide, etc) GUARANTEE the high quality of this film is guaranteed until the expiry date printed on the package all products produced at this factory are thoroughly checked and pass quality control. if the consumer finds a defect in the film (prior to best before date) you need to do such such and such and contact blah blah. if the defect is confirmed to be due to manufacturing, you will receive replacement product for the same amount addresses of specialized labs that work with consumer film stock: various addresses follow shostkinskoe factory "svema" manufactures and develops b&w film stock in size 16mm and 2x8mm only with normal perforation ***side note: svema stands for SVEtochustvitel'nye MAterialy, or, light-sensistive materials. factory created in 1931 in Shostka, Ukraine*** film that is stitched or has damaged perforation will not be accepted for developing film must be sent for developing in the factory box (in which it was purchased... i assume)....some details and instructions for shipping the cost of film development - 7 kopeks per 1 metre some more instructions for payment and shipping
  8. instead of the band performing live, you can have them perform to a recording then get a sync slate and connect it to your playback device, so the device which is playing the song is the master timecode. the idea is to show the timecode on the slate to the camera. in editing you will know exactly which part of the song is playing this link here describes it quite well https://www.bamfsound.com/how-to-music-video-playback-with-ltc-timecode/
  9. i find these threads a bit mind-numbing, in the way of "this is a song that never ends, and it goes on and on my friend" there was an earlier thread about some films at a festival that had a lot of soft shots... the main thing to remember is that by the time the audience sees the shot on screen, it has already been watched and approved by many pairs of eyes. on big budget projects, an experienced focus puller will usually know what he missed before they even call "cut". in addition, on digital shoots there are many people watching the shot live on 24" or bigger screens. a DIT or a 2nd AC may watch the shot for "quality control", some 1st ACs even like feedback on the walkie during the shot. so vince is technically correct. if you boil it down to the basics, the issue is always either technical or human error. however, it is not up to the focus puller to decide what shot makes it to the cut. we, as technicians, pass on the information, and the adults decide what to do with it. also remember that the multi millions on big projects don't really go to camera department... other than it usually buys them much sharper lenses :) the budget doesn't make it easier to have a wide open master prime or a leica a soft lock-off wide shot... could be anything - maybe the lens didn't calibrate properly on the remote focus, maybe it was an un-tested daily lens, maybe this was a hastily thrown together 2nd unit shot. but you can be sure that this shot was seen, noted, and went up the ranks as soon as the dailies came in
  10. i just received a foton 37-140 (without the anamorphic attachment), and it is also exceptionally difficult to move the focus ring. i had a suspicion that because of its age and lack of maintenance the grease inside has dried up. so i talked to oleks, and that is exactly the problem. grease in that lens over long periods of time becomes more like glue. so it is likely your lenses have not been serviced in a long time. and to properly re-grease this lens is quite a process. here is a photo oleks showed me of this lens taken apart. the brass ring is the threaded focus block - which you can take out from the front of the lens, and grease the threads. in this particular photo the threads are actually filed down (i don't know why). but then you have to disassemble from the back of the lens to access the focus ring, and grease its threads. anyway... periodic maintenance is what your lenses need
  11. we used the master anamorphics on a mini without lens support (our lens set went up to 135mm) the camera is obviously very front-heavy, so we had to extend the build backwards to ease handheld operation - which occasionally backfired, when we needed to get close to a wall or be in a corner i had 18" rods, with only about 4" on the front end, while the back end of the rods held the battery and preston mdr i think on average our build length was 34"-36" from clip-on matterbox to battery another option was to shorten the rods, but use a hotswap battery plate and carry 2 batteries to offset the weight we did not use a lens support on this movie, but if you do a car rig/process trailer with these lenses i would certainly suggest it in fact, i do dailies on a show here that uses a cooke 65mm macro anamorphic (11.46lbs weight), and we don't use a lens support for it i wonder what the PL-mount specs are for max weight...
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