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Oliver Gläser

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About Oliver Gläser

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  • Birthday 07/20/1981

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  • Occupation
    Cinematographer
  • Location
    Vancouver BC, Canada

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  • Website URL
    http://oliver.hypona.com

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  1. the lens mount has to be moved over by 1mm on the same side as the gate is milled out by 2mm (the side opposite to the pulldown claw. The ground glass should also be remarked (this can be done with a very sharp mechanical pencil) and moved over 1mm to center it into the new frame. The magazines can (but don't have to ) have their rollers and sprocket wheels turned to widen the area that doesn't touch the negative and polished. and thats pretty much the basics. A good machinist should be able to move the lens mount if he/she thinks it through. The gate is relatively easy to do as is the ground glass. The mags are a little bit more work, but I suggest switching the camera over first, shooting test footage with all your mags and then checking to see if the mags scratch or pressure the new super area of the negative. I am all for doing the work myself if I think there is a reasonable chance of success! Super 16ing Eclairs is not the toughest thing in the world in my experience so... Good luck. Oliver Glaser
  2. just an aftermarket paint job. I prefer the old crinkle finish black though I must say...
  3. The other type of finders that fit on the NPR are those off of CP-16 cameras. I have a CP orientable viewfinder with extension and I love it. I'd never go back. The benefit of this system is that you can now comfortably operate behind the camera on a dolly or tripod instead of beside it (which for some shots was a real gymnastic problem!). I believe it is the most expensive option to go for, but in my opinion some of the best money that I have spent on upgrading my camera. the set goes for about $2000 at whitehouse av. I got mine on ebay for a fraction of that. Occasionally they come up and if you have a seller that doesn't know what they have you may get a great deal on it like I did.
  4. I am a big fan of the 600 series of Eumigs. Solid construction that just keeps going... and precise film movement that is gentle on the film. I have 4 that I use constantly!
  5. I agree... I would rather shoot super 8mm than any HD/digital format. oliver
  6. Although in fairness it is often where you put your money (production or post). Many people think shooting RED is cheaper, yet in a lot of the post workflow (filmouts) that I have seen, that isn't the case. Going a photochemical route to a 35mm blowup, for a short film may well be cheaper... especially if you know someone with film stock in there freezer (lots of people have 1000's of feet not being used), cameras are cheaper to rent and wont crash due to software issues! All this has to be taken into account i think. I don't know about down there, but in Vancouver, I can shoot, process and transfer to HD for a fraction of the cost of renting a red camera for one day. And I know its going to work! It should be noted that I have a ton of Film in Freezers (no stock costs, and when I do have to buy, Kodak often gives me 2 for 1), I have my own cameras and lenses (Eclair Ultra 16mm NPR and Zeiss superspeeds), if I am shooting Black and White I can process my own film (custom built film processor) otherwise its between 12 and 15 cents (CAN) per foot for colour, and I scan the film myself to HD on my own 4:2:2 1920x1080 Super 16mm film scanner. But even if I had to pay for all of these services, I still think the cost would come out to less (depending on how much stock you shoot of course) than if you had to rent a RED, buy hard drives, and go a Film out route. Yes, I realize that I discuss an HD route with my example film, but a film route is also possible photochemically if you shoot on film. ... I am biased however... as I would sooner shoot super 8mm than RED or any HD format if given the choice (which I am most often not given by producers...). my two cents. Oliver
  7. Theoretically it should be possible to fix the lens, like any lens... however you need to find a lens tech who is familiar, and that is a much tougher proposition. The problem with many super 8mm cameras is that half the lens is buried inside the body, and that all has to be removed... and many cameras were not meant to be easily taken apart. I would suggest you call up local camera rental houses and see if any of their techs have any experience with Super 8mm or if they could suggest someone who does. Pro 8mm sound in CA would probably be a good first place to start. It also depends on if its worth it to fix it or just buy another one. and since you bought it on ebay, and if the buyer didn't mention that obvious flaw with the camera, you can file a claim against the seller... and buyers have more rights on ebay then sellers do (i know this from personally having been screwed by cheating buyers in the past)! just my two cents Oliver
  8. I have used my D80 for a couple of years as a lighting previewer, and apart from the lower latitude, its worked out well. I through F1.4 prime lens on, set the shutter speed to match my Movie camera's (1/50th for my NPR's 1/48th) which is normally close enough and set the ISO in the still camera to match that of the stock I am shooting. Although not perfect, it does often get me very close. The midtones are normally pretty accurate, but because of the lower latitude of the DSLR, it is always contrasty-er, so the shadows are crushed and the highlights blow out... but because before every shoot I test my stock (as I think everyone should... even if you have shot it a 1000 time before), how it reacts is freshly ingrained in my memory. I use the camera especially when shooting Super 8mm negative on Docs. When things are run and gun and you are a one man camera crew, having a DSLR as your lightmeter has been a great asset to me. I know also that with Film I will have more latitude and therefore I don't worry to much about (in these less critical situations) over or underexposing a stop or so. Best thing to do is shoot tests and compare your results when you transfer. Along with my Lightmeter it's another tool in my quiver. Just my two cents. Oliver
  9. Are you sure it was double 8mm and not double super 8mm? double 8mm should be fine, just twice the number of perfs. Double super 8mm has smaller differently shaped perfs so that alone would cause it not to run through the camera smoothly (if at all). You can check by putting a piece of your double 8mm over 16mm and see where the perfs line up. oliver
  10. Its like the difference between regular and super 8mm... 10% can be a lot. There is another facility in canada that Transfers Max 8mm - Mine! Newsreel Productions in Vancouver BC. Check out my website for more information about what we/I offer. Here is the Vimeo link to the Super 8mm reel and here is some stabilization Examples Thanks Oliver
  11. The funny thing is, I am not sure if anyone noticed... that is an ELAINE... a short lived, shrouded in secrecy (LOL) 16mm camera that Panavision built in the 80's I think. they were converted to Super16mm , but they are more of a museum piece and oddity (although I am sure they run just fine). I think only Panavision in hollywood has the remaining bodies now. oliver
  12. all that you would have needed to do is stuff an old mitchell in there and you have a modern Pana! LOL... In effect that is all those cameras are, just glorified BNCR's... smaller and easier to work with, but the same general design. imagine the possibilities... cramming an old mitchell into that little modern shell. heh heh. anyway.
  13. I have a Tobin TCM 14... which is hands down the best motor ever built for the NPR. I wish tobin still made motors! anyway, The Perfectone Compact is great and offers a lot of options. The Alcan is great too, although I had one once and for some reason, no idea to this day why, a day before it was to leave for Ireland as B cam on a feature i shot there the motor died... I luckily had a constant speed motor that I threw into action for B roll stuff, and the other camera had a perfectone compact (which had a circuit problem in the mirror return) but that worked for me. anyway, my two cents. thanks for reading Oliver
  14. also, if you want to build it yourself... here are my drawings.
  15. in order for the 15mm adapter to be of any real use it has to align with Arri S16mm gear. For that you have to drop the single rod that comes out of the NPR down 14mm (center to center). Otherwise any rental gear (matteboxes, follow focus') you get may not fit centered on the mount. Below is a picture of my camera with a custom built drop down. I can build the same for you for $150 plus shipping. It would be a couple of weeks to get it down. I have built a few others for other NPR owners and they work great. simple and effective. oliver
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