Philip Reinhold

Hey, selling my Backup Color/Spectrometer Sekonic C700 Spectromaster. It is in great rarely used condition. Doesn´t even have signs of use. 1000€

Its on Ebay now! https://www.ebay.de/itm/303252853438

update 900€.

just shoot somehwere in the UK… there is a good chance of rain!

Hey, im selling my Arriflex 16SR T-Bar with B&W SD Videoassist CEI VP III B&W (NTSC). Also i´ll add an 5" Transvideo SD Rainbow (PAL/SECAM/NTSC comp.) Monitor with sunshade. Tested, cleaned & working! And in good condition! The Videoassist covers the S16 Mattescreen only around 90% but if you squeeze it it can Cover a squeezed 98% of Super16 1.66 Mattescreen. All together as a Set- 1000€. Pick up preffered. (Berlin) But can ship it as well! Best, Philip

Hey Gerogia, Normal or Super 16mm? I´ve a SR2 with N16 B-Mount as sparepart backup for my Super16 SR´s here. Super16 SR´s Bodies in good condition go for over 8000£ + these days since prices have skyrocketed in recent months and still go higher. Cheers, Philip

Hey im looking for a Lightweight Rod support 15mm for my Arriflex SR2 (LWS-1-2 as example) Accept any of them which can be setup to super16! (SRI-III) Cheers!

This is because your Mount is missing the Metall- Ring which usually keeps the Iris/Focus Gear in place which older SR´s had. As long as you can Focus to Infinity you won't have any problem. See Picture below!

Well I just figured out that you can get an HD- Videoassists for Arriflex SR1/2 for "relatively" cheap you use the T-Bar or Top-Handle Beam Splitter… Tyler do you mean Indiecam? They do only build an HD assist for the Arricam Studio. (Which is a great one btw. and makes modern AC´s & Clients Life on Set ways easier!) Back in the Days when I worked as Loader & AC i loaded up to 30+ Mags a Day… It never feels difficult or that I should need an "Cartridge" to load & unload. An Arri/Aaton Mag can be loaded in Seconds… :-) Less Plastic… Less Rubbish… Cheers

I think the best way to avoid moire & aliasing is by using cameras with optical anti aliasing filters. I´ve no glue about post-production solvings but im sure there are some ways which can reduce this a bit - like chroma noise reductions?… however you´ll lose detail resolution. Most professional digital cine cameras by arri, red & sony have internal olpf filters to solve that issue. Since you said 4.6k - i guess you´re using a Blackmagic Ursa camera right? They don´t have an internal lowpass Filter. But there are good 3rd party options for it which are worth their money (especially if you like to shoot in portugal with all the beautiful pavings, tiles & details ;-) ): http://www.mosaicengineering.com/products/vaf/bm/umpro.html

i think all of them do if you ask for. cinelab london as example.

You do have a little IR pollution there as well. Without getting to much into color theory & wavelenghts. Just have a look at this article: http://www.thehurlblog.com/what-is-ir-pollution-and-how-do-you-combat-it-tiffen/ Do you use a Blackmagic Camera?

Yes you got a lot IR pollution. This happends because you use normal ND Filters & maybe a camera without any IR Cut in it. So you limited your spectrum by using NDs which doesn´t cut or correct the Infrared wavelenghts. Its difficult to correct in post & you will probably lose saturation. :-/

Well- You compare a linear picture with a logarithmic one. For a Log picture it looks exposed okay. You just needs to add a matching Linear LUT for grading. But it looks like you´ve got some IR pollution.

Here you´ve two more pictures from my iphone as inspiration - lock ties & dimmable bbs pipeline tubes.

You can rig a china ball on a boom or gobo extensions on cardellini clamps +++ or find something where you can just clamp the cable & let them hang. they are really lightweight. I like to put some thin black-molton cloth around them to control the spill - really simple with small metall clamps. also as david already suggested- you can rig bare kino tubes with longer zip ties somewhere in the ceiling. again you can control the spill with blackwrap or some molton cloth. I also use a Aladdin 1x1 bicolor a lot for tiny spaces. They are super flexible, see pictures below. You can rig them on a audio-boom pole and they´re still below 4pounds… http://www.dopchoice.com/testimonials/philip-reinhold/ I recently just used red colored tungsten (party) lights in chinaballs for something similar. (also added a picture for you)

Darkness is our best friend! i don´t know your creative concept for the rest of your movie but i can tell you how i would do it. maybe go out & look for some nice practicals & tungsten bulbs you can add with the art-dep. on small dimmers. You only really need fresnels when you wants to spot or direct something. I mean… this is up to your creativity but… usually people don´t use fresnels in their bars ;-), also maybe they will bother you more then be helpfull. as key I would also invent practical bulbs and then force them with chinaballs and pancakes. (100-500watt chinaballs can be still enough light for your camera), i think this will give you a more controllable shape for the key light. If you need some more fill, maybe just add an unblaeched muslin where needed just as fabric. Fabric is mostly really easy to fit somewhere in indoor locations… And if you still need more Fill you can bounce a little bicolor led against it, which you can dim wihout color change. Or use one of your 350w fresnels and control the fill bounce with the doors. I would break the contrasts by adding some haze, which fits in a bar scene anyway. best

For me it looks like Kodak Tungsten Stock with Daylight balancing Filters combined with some Soft Filters like BPM. I don´t know the DI process but a pull developement would be a good base for this look as well.

Marilyn Monroe, heaven, confused situations (not only under drugs) flashbacks e.t.c. it´s more a creative choice. In old movies they often shot the women with more softness than the men. The promist filters do also reduce the contrast and you can use them as a low cost Varicon (by flashing the filter with a light panel or something like this...). I think you know the main functions. best!

A friendly rental in Berlin is checking my camera now! Cinegate Berlin, very nice people! I´ve just take a look at ebay and find an another Model 1. There is a link with test footage in, the image is very steady. (Look more like a cam with a Register- pin) Maybe i´m wrong, but in the pictures below the bargain there is one of devolped footage what looks more like s35? http://cgi.ebay.de/Arriflex-35mm-1941-42-A...1QQcmdZViewItem best, Philip!

It feels like the bigger problem, sometimes its skipping a bit. But ive opened the camera and took a look at all screws, they seem to be okay, all gear looks good. Pictures below...? Thanks, Philip!

Right now i got it! Serial #2312 And i tried it out: the motors are running, (both, the original and the tobin crystal) all lenses are clear (there is a 50mm lens with it), the perforation movement (old button Style) works on the first view. But running the camera with stock in there, looks like the magazin works faster than the perforation movement. Does anybody know this problem, or the way to resolve it? Pictures below... thanks! The arriflex IIa the movement problem. 1 2 3 - Philip!

Thanks for the values! If they have a 2c, i think only for decoration, but im sure that i can try the door on my 2a. If it works i will write it. Best, Philip!

Unsure ;) best, Philip

Two more questions ;) What´s about the door? Can i change it to a newer one with a Video-Tap? These Body parts looks interchangeable. Also i would use a periscopic viewfinder. Hmm Flickerfree with HMI and 120°, if i use 50Hz Frequency HMI light... on 25 or 50 f/s there won´t be a problem?? 24, 30, 40, 60f/s for 60Hz ? (1/75 exposure time = Frequency; 360 degrees x 25 Hz / 120 degrees = 75Hz) Hmm. Sometimes i´m unsafe. Best, Philip!