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Dave Bourbois

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Everything posted by Dave Bourbois

  1. Hello out there, anyone have any experience shooting with an Ikegami HD camera in 24P? I like what I see on their website, but I'm a little put off by their PC only workflow with Avid. I've got a Mac to edit on, and so do all of my friends and peers down here. -Many Thanks Dave
  2. Hello there, if someone has already posted this question, then I apologize, but has anyone here ever seen footage from the GY-HD100 transferred to 35mm and projected in a theater? If so are there any settings that look better than others? -Dave Bourbois
  3. Hello I had a few questions about the venerable tank known as the Mitchell. There was the Mitchell Standard developed in the silent era, then the Mitchell NC a little later. What sort of lenses did these cameras use? With the advent of sound the Mitchell BNC was introduced, a camera that utilized a rack over focussing system, much like the NC, only this time it came blimped. This is where I get a little confused with the lens mounts. Lenses are said to have a BNC mount. Now, later on there was a demand for direct reflex viewing so companies like Cinema Products and Panavsion developed versions of the BNCR. When I see used Mitchell cameras I'll often see them advertised as a BNCR when in fact Mitchell didn't develop theirs until the late sixties, The Mitchell BNCR had a different mount, right? I think it was called an R-35 mount. The Cinema Products BNCR that had a Prisim behind the lens reflex viewing system instead of a spinning mirror, what mount did those use? BNC? R-35? I've seen some lenses advertised as BNC or BNCR? Are they the same? After the BNCR Mitchell developed other cameras that near ass I can tell were never inteded for sync sound, but I imagine that some of them were. Cameras like the MKII, the SR35, CG and the 35R3. What's the deal with these? Were they ever used to shoot features, I heard of someone using a MKII with a blimp, but I tried asking around for a blimp a few years ago and came up with zip. Then there are the numerous Cinema Products conversions like the CP-XR-35 and the CP-BNCR with the pellicle conversion. Anyone have any clarifications on the type of mounts used, or have other models or variations they wanted to add to the list such as the PSR or the Newall? -Dave
  4. Hello, does anyone have or know of where I could get some cool looking behind the scenes pictures of The Sugar Land Express and Across 110th Street. These were some of the earliest films to use the Panaflex and the Arriflex BL respectively and I'd really like to get some pictures from the set. If theres a place on the net, or if you guys have the back issues of American Cinematographer with any images I'd really appreciate it. -Dave Bourbois
  5. How about a set of Zeiss still primes with a Contax/Yashica mount? Or a Leica still lens mount?
  6. Sorry 'bout the lower site. http://www.commiecam.com -Dave
  7. Hello everyone. I recently purchased an Konvas 1-M. I like the cameera but don't care for the lenses, a set of old lomo primes. Les Bosher can convert the lens turrent to accept modern nikon or canon lenses. I was considering going for that, but realize that as sharp as these lenses are, they were not designed for cinematography. If I were to get the turrent converted to an arri standard mount, perhaps I could get a few cooke or zeiss lenses. What would you guys go for, on the cheap? I live several hours away from Houston and even further away from Dallas, and plan on shooting small films, which is why I don't opt for an Arri PL mount. Anyhow, any input would be appreciatted. -David Bourbois To see some of the conversions Les has done just click below Les Bosher's Webpage Check under camera conversions, then scroll down to 35mm cameras Commie Cam Check under Camera Modifications
  8. Actually I was thinknig of one of the Mitchell BNCRs from Martin Hill, they have some for about 5,000 and a really nice Cinema Products for about 8,000. Called up the guys formerly known as frieseng and by the time I get video tap on there I'd probably be better off with that package at Visual Products. <_< Anyhow, I tried googling Samcine, and his exposure calculator came up quite a bit, but didn't find much about his lenses. I recall a lively discussion on this forum about paying several thousand dollars for a converrted Minolta zoom lens, and I just think it's cool how much effort can go into getting something like that contructed. I guess I'm also a little curious about the image quality of Nikon and Canon FD lenses because I just purchased a Konvas 1-M, and Les Bosher can do a pretty nifty Nikon hardfront conversion for the Konvas.
  9. Hello, all. I was checking out the Visual Products site and saw some re-housed nikon and canon priimes with a BNCR mount under the product name Samcine. Are they still around and do they still convert modern sharp still lenses to different mounts? I was thinking of getting a Mitchell BNCR with a spinning mirror but was a little put off because of the lack of modern sharp glass to go with it. Does Samcine have a website? -Many Thanks Dave Bourbois
  10. Hey guys, I own a few Jon Fauer Books, have collected a few manuals and printed some off the internet, mostly Arri and Aaton. I also own an ancient book called Motion Picture Camera Techniques, and the 16mm Camera Book by Mr. Underhaul. I'd like to get a solid cinematography library going, so what are the top ten, or at least a handful of books, you guys would recomend? -Dave Bourbois
  11. Further down the road, in a couple of months from now, I was thinking of getting an Arri BL-1, prefferably with a set of primes and a video tap. Assuming this comes to pass, and that I also get a good Zoom Lens what support would you guys reccomend? I'm on a somewhat limited budget, so I was thinking of getting some Bogen 3058 legs, and a 3274 head. The legs are rated to carry up to 44lbs. and the head is rated to support 32 lbs. I imagine I could get a better price if I went with some old Satcher tripods, but because of my work with videography, I sort of got spoiled with these heads that have that built in spirit level that you can adjust on the fly. Anyhow, any advice or comments would be greatly appreciatted. -Dave
  12. Is shooting a motion picture on Super 16 still viable? Everyone keeps on talking about shooting DV, but quite frankly I'd much rather prefer the look of Chasing Amy or Leaving Las Vegas to that of The Blair Witch Project. If one can't afford to shoot 35 or on 24P Hi-Def, I figured the next best thing would be 16mm. I read in an Article in American Cinematographer that in the Film Festival circuits there are less and less independent movies shot on 16mm, most are DV or 35mm. Is this True? At this point I could invest in an older 16mm camera modified to S16, such as an Eclair ACL or a Cinepa Products CP16. I am thinking this would be a promising start, get used to the different stocks get some hands on experice lighting, and make some bread on the side doing commercials and small films, then work my way up to 35mm. I was just curious cause you guys know what works and what doesn't, have you ever had problems selling a product on S16 that might otherwise would have worked? -David Bourbois -P.S. This was not an attempt to start up that whole digital vs. film debate, this is simply the neurotic concerns of someone who made some promising little films in college and stopped after being frustrated with the equipment, i.e. a few Panasonic S-VHS camcorders and a 16mm Canon Scoopic. -P.S.S. I also realize that in an ideal world the format shouldn't matter if the story was good enough, but why not make some beautiful images while you're at it? :)
  13. Hello, I was parrusing a book on 16mm Cameras by Douglas Underhaul last night and I was wondering if anyone knows about the performance of the Cinema Products GZMO? How would you guys rate it overr an Eclair ACL or a CP R16? The book mentioned that it came a little late in the Arri SR and Aaton war and really never caught on. Does anyone know of any links where there are photos of this camera, and does anyone know of someone who sales these cameras. Any info would be appreciatted. -Dave Bourbois
  14. Hello, everyone. Do you guys know of any transfer houses that can Telecine S16 or 35MM to the JVC PRO-HD D-VHS VTRs? Those decks go for under a grand and offer very good resolution, just a thought. -Dave
  15. I know this has been discussed already, as far as weight and just essentially defeating the purpose of a lightweight camera, but what's up with the Cine 60 blimp? How light is that compared to the other blimps, and are there any draw backs? -Dave
  16. Visual Products has a pretty good offer for a Super 16 version of an Eclair ACL 1 with ground glass and 2 modified mags, and a Super 16 version of a Cinema Products R with 2 mags and a 150 Angenieux lens. Both are about 6,500. Which is a better camera? I've heard that the Eclair ACL had a problem with the 400ft mags, as far as the weight and that you're better off with 200ft. The only issue I've heard with the CPR is the noise. Which is more egronomical. Pros and Cons of both? Many thanks. -Dave Visual Products 16mm page
  17. Thanks Mitch. It's just one of those things where I've been saving up for a while and am only a few months away from being able to get an Arri IIC blimped or a Mitchell BNCR package I've been eyeing for a while. A BL1 or BL2 would be a lot better, but I'd be looking at about a year instead of a few months. I greatly appreciatte your advice in this and other topics. -Many Thanks Dave Bourbois
  18. I plan on doing a feature on film, and getting it telecined to DV to edit on final cut pro, which is a better system for audio? Nagra or DAT? I can get a used Nagra 4S stereo form Visual Product for 2,500, a DAT with time code goes for almost double that. The cameras wouldn't have Aaton code or Arri code, would a DAT without time code work just as well? I've heard that Nagras are old school workhorses that deliver the goods in different temperatures and humidity. But if I plan to shoot at 23.976 would a DAT be easier? Then again TCS makes an adapter for Nagras so they sync up with that. Very Confused. Any help would be appreciatted. -Dave
  19. I heard that the TCS Videoframe Controller is an economical way to shoot at 23.976 which would enable you to use DAT recorders if you plan to use DAT as apposed to a Nagra, and intend to edit on video. Are there any draw backs to this system? How will that look projected if you get theatrical distribution? -Dave
  20. There are a number of color slates and charts to use to so that when you use a telecine transfer they'll match up. Is there one that is considered an industry standard? Will one of those sync slates with color bars on them do just as well? Just Curious. -Dave
  21. I was thinking of investing in an Arri IIC for shooting features. Is there an economical flatbase motor that can be used with an Arri IIC blimp? -Dave
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