Gregg MacPherson

You could just beak down your 400' rolls. Whatever's most usefull. 2x200'... or spool off 100' to leave 300'. Normally you do this in a darkroom, but people often improvise. You need a set of rewinds and one or two split spools depending on what you are doing. I have at a pinch just held a 400' roll in my fingers as I spooled it onto a rewind. Not the safest way to do it. If you are spooling off your own rolls, you have to spool it twice. The second time you will get the wind orientation back to what it was, and the head, tail relationship correct, so that edge numbers, bar code or whatever they do nowdays will be in the right direction.

Just saw that photo with that very cool quote stuck on the MB. "Consistency is the last refuge of the unimaginative" ....Oscar Wilde Trouble is that by the time an idea like that can have an impact on someone it can easily be too late.

I have a couple of old Mole Richardson Baby Solar Spot fresnels. Very old, they were set up with photo flood bulbs when I first got them. They have some surface rust, which I assume will extend into some of the spot welded seams. If I refurbish them, what is a good idea for treating that? Some kind of chemical dip, plating, galvanizing? I originally custom converted one to 650W tungsten. Were there factory parts to convert these lights? Do the parts for tungsten just fit right in? Riser, bulb socket.? Thanks for any ideas.

Following the thread title more literally, what labs in India are friendly to short films and less than feature length projects, and what sort of prices are they charging for colour neg processing. Are there any small budget film makers out there reading this who can say first hand what prices they have met. Hard I know, in a country where negotiation is so common in transactions.

The worlkd gets confusing when M42 is shorthand for a thread description but M43 means a Micro 4/3rds mount..

Is it possible to pin that near the top of the board.

Scroll down untill you see "profile information" in bold type. To the right of that in grey type is the edit the about me stuff button.

I watched some of that. I liked the shots with deep blacks. Did you figure out what's causing the deep scratches, or whatever it is. They sit almost stationary in the frame. Where were you. I can't tell if that is the UK or upmarket New Delhi. Never been to the UK, and its over 20 years since I was in New Delhi, so who knows, not me.

There has been quite a lot discussed on the forums about frame coverage with different lenses for S16. The "image circle" for lenses varies. You cam literally see this image circle if you grab a lens and focus a bright image onto a piece of paper. Commonly, the image will be of less quality near the edge, so you may not get an answer just from the image circle number. I don't think there is a simple formula for what min focal length that a 16mm zoom (for example) will cover S16. I looked hard at a Zeiss 10-100 T3.1 and found there was no easy answer, no magic number for a focal length above which it would cover S16.. The things that people selling these lenses on eBay were saying (OK above 15mm or 25mm etc, were inacurate generalizations). You can get an answer for a specific lens. It may not be a simple answer. But it will be the same answer for all cameras with S16 format. So rumaging through old threads is a good start.

The Actor can practice getting really drunk and being OK with exposing their hopefully prosthetic private parts. I stopped 1/2 way, just before it looked like a very risky tooth paste commercial. Some usefull advice is possible. People will help. Just persevere with some specific questions.

As a student we visited a rich visiting sports TV production shot on 16mm with 10 or 12 cameras, I remember the DoP flicking short ends into the air to recover the core. None of us had the nerve to ask if we could just keep the film. So it's really just a question of what's usefull, economic to load and use. Re the matte box question., There are often ready made solutions to how to mount the MB for different cameras. Otherwise you can invent your own. If the lens has a front that does not rotate as it focuses, then a solution is possible where you just clamp onto the front. Look at most of the Chrosziel 4x4 MB and you see this option. There are cheaper Chinese or Indian versions. If the lens front rotates as you focus (older zoom lenses for example) then you have to use rods. There is almost no camera or configuration that you cannot custom do with rods. The issue is how to align the lens axis with the central axis of the MB. You will sometimes just improvise. Add spacers to get the height and align the threaded camera mounting holes to get the horizontal alignment. Some cheap Chinese MB have easy height adjustment. Maybe some have a way of horizontal adjustment also A cheap MB may be OK if you have little money. Better to spend on the FF.

If you click on your name at top right, choose "my settings", you can change your profile data and there is a button around the middle to edit your "about me". Cheers.

Hey Dick, Whats the length of the song or the finished clip? One hours worth of footage is a lot if you are on an indie budget. Depending on your answer there may be some useful suggestions. If you sniff around you will find some cheap, new, not out of date stock. I saw someone selling a whole carton of Fuji on eBay a day ago, with a few rolls left, really cheap, for example. Or if one of your musicians or crew is a student, those stock prices can be cheap.

All but a few, and definately Tim Tyler, who I think originated the forum, and moderates. People who object to this rule seem rare. It is one of the forum rules. Lots of different members have reminded new people of this rule. I belong to a couple of film forums where almost everybody uses a fake name and it's really irritating to me. It's a sort buffer against direct, meaningful connection. On this forum people are open about who they are, and normally free with their contact details. Makes perfect sense to me. The other way, the nickname or fake name way, is an absolute waste of time IMHO. I was very relieved that they didn't allow that here.

I don't know if people actually get thrown out for not using their real neme, but it may cost you in terms of the quality of the interactions you have here.

@ Tin drugmoneyart. Someone will sooner or later ask that you use your real name. Or were your parents artists from the 60's who actually changed their name to that? In which case that is quite cool. I'm sure they'l let you keep it.

I thought all S16 lenses would cover the U16 frame. Is that not true? I have no practical experience with it, just the memory of comparing frame sizes some time ago. The Ultra 16 primes. The've just grabbed that word, cool sounding, the ultimate lens kind of thing, no relation whatsoever to U16 format. In another thread about coverage / image circle I think it comes up that the Ultra16 primes do have a smaller image cirdle than the Zeiss 16mm (S16) super speeds.

Unless I read wrong, some SRs nad LTRs had a problem and some didn't. This could point to inconsistent faults in the stock. Could also point to variation in camera setup geometry, pitch, side pressure plate, variation in claw or pin shape with age....?

Dom Jeger often pops up on threads like this and will probably have experience sourcing that part. I needed a plastic body for the leg lock on an old aluminum Sachtler a while ago. The local Panavision had the agency, and the part, sitting for years, so was really cheap. You never know your luck. If you can't easily find the part, pultruded tube is probably plentiful and fairly cheap. Look to suppliers in the marine industry. Actually, cracks in carbon composite are very easily repaired and dressed back to shape if one has the skills. But that assumes the fracture has not brocken too many lengthwise fibres. From a design perspective, it's a bit of a myth that carbon will increase the apparent system stiffness. The overall geometry and the joint design is much more significant towards that IMHO.

Do you know what he modified? Thanks.

Are LWS-3 the same as those on SR1, II ? If so you could just switch between short and normal LWS rods. The normal (long) rods come up on eBay a lot.

Was that really molten iron? Will moltern bronze give off a different color? The conrents of the crucible (bronze) will probably look white hot with some warm glow. Shooting mixed source coudl look good. Tungsten film, localized tungsten light, unfiltered window light, the white heat and warm glow of the crucible and furnace. Worth googling footage on bronze casting. You may get a feeling for the relative colors. Best of all shoot a few feet showing the various options, or the most likely option.

Looking for Anamorphosis in Youtube I found other work by the Quay Bros. A wonerful find, thanks Dom. I'm in the middle of The Piano Tuner of Earthquakes. I wanted these links to show as text rather than pics but I don't know how yet. Anamorphosis http://www.youtube.com/watch?v=5D80A04qmO0 The Piano Tuner of Earthquakes. http://www.youtube.com/watch?v=U2LA2i0sjZ8

Hey Dom, VEEHD told me I had to download Vaudix plug in. I googled about that and several places said Vaudix contains a trojian/ rootkit malware that is hard to detect and hard to remove. I think there is a lower res version of Anamorphosis on Youtube.

There will be some other threads that might give some ideas. This was a recent one. The link to reduser may then point back to some interesting links here. http://www.cinematography.com/index.php?showtopic=58769 Dom may pop back and he will probably know how these look on the projector. Although there may not be rental companies with the lenses you want in WA, is it possible that there are some privately owned. Find the friendly people.