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Gregg MacPherson

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Everything posted by Gregg MacPherson

  1. Gregg MacPherson
    You may have to be patient with eBay, and learn some German, like what they are calling these lenses in the auction title. Actually those MK I lenses for under US$600 were sold from the USA I think. Note that the MK I is not as tough mechanically, maybe the focussing thread is too fine or something, and everyone complains about the focus markings. Maybe there aren't enough and the barrel is a lot smaller. The 35mm stills frame was say 36x24mm, diagonal 43mm. The S16 frame is say 12.4x7.5mm, diagonal 14.4mm. So the S16 lens that might. feel like the SLR's 50mm would be the 16mm. (50 x 14.4/43 = 16.7). After writing that I rappidly got confused wondering what really should define a standard or normal focal length. Google gave some interesting comments from Rojer Deakins, but I think he admitted he was maybe confused too. http://www.rogerdeakins.com/forum2/viewtopic.php?f=2&t=427 Maybe one of the rental companies will give you some free time to look at their primes on your SR.
  2. Gregg MacPherson
    There is a perception that 16mm Zeiss super speeds are expensive. Over the last couple of years I've seen 16mm Zeiss suoer speeds on eBay sell quite cheap. But price and value is all relative I guess. I've seen sets of MK I sell for US$2400. MK i sets brocken up selling for under US$600 each, with PL adapters and fitted gears. Surprisingly, they didn't sell imediately. About a year ago I saw a complete MK II set incl 50mm, Arri B mount, ex German TV, German eBay, sold individually for a total of US$5500. This set of MK II / MK III, PL mount, recently sold. Ex German TV, sold as singles on German eBay. Can't remember if there was a 16mm as well. Total of US$5307. 9.5mm http://www.ebay.com/itm/171022579888?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1438.l2649#ht_1114wt_1198 12mm http://www.ebay.com/itm/171022597088?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1438.l2649#ht_1053wt_1198 25mm http://www.ebay.com/itm/171022620321?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1438.l2649#ht_1053wt_1198 50mm http://www.ebay.com/itm/171022650725?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1438.l2649#ht_1059wt_1198 And this set of 3 MK I lenses US$2180 http://www.ebay.com/itm/Objektive-Carl-Zeiss-Distagon-12mm-16mm-25mm-Objektiv-ARRI-Arriflex-3-Stuck-/171022069417?_trksid=p2047675.l2557&ssPageName=STRK%3AMEWAX%3AIT&nma=true&si=7IgGNR%252BcgipXpxKK1DmbPR0krjM%253D&orig_cvip=true&rt=nc#ht_1888wt_1168 I guess if people use these lenses for BMCC or BM pocket cam or GH the prices may go up again. Thinking of Kane choosing a single normal or standard lens for a project. What do people call standard for 16mm or S16mm. When we were young, shooting stills with SLRs, we saw the world through a 50mm lens. For me the standard or norm is probably wider than the formula might give.
  3. Gregg MacPherson
    It's worth tracking Zeiss super speed prices on eBay. Worth looking at German eBay.
  4. Gregg MacPherson
    i wouldn't pull focus with it, but if I was doing strange things with the camera, unable to look through the eyepiece, I would be very glad to have it.
  5. Gregg MacPherson
    That should have been "drop in". Sorry, terrible typos sometimes.
  6. Gregg MacPherson
    I think all Moises has done is position his iphone with reasonable accuracy behind his viewfinder. If you grab an iphone or ipod and hold it where your eye sits behind any camera you may get an image. Took me about 2 minutes (and the wrath of my son, who owns the ipod). The difficult (not so difficult actually) part is making a clamp system that holds the phone where you want. For 16mm cameras with orientable viewfinders, a clamp onto the finder or diopter barrel will not be that hard.
  7. Gregg MacPherson
    Is the Minolta Flashmeter V just as good for cine as the IV. I was using a Seconic L-28-C2 (analogue) and a Pentax digital spotmeter. The Seconic is a bit fuzzy in very low light. I'm guessing the Minoltas will do that better. Any thoughts, tips. Thanks, Gregg.
  8. Gregg MacPherson
    I'm really relieved that David gave a good description of optical titles. As an indie in the 80s trying to make a 16mm film, at least in NZ, I remember this. Photo type setter made some high con copy on paper, which I then cut and pasted with glue. Then a litho company made me high con B&W transparencies that I mounted into special cardboard frames. The lab shot high con 35 from these (back lit) so they could then make the mattes. Hey presto (thanks David) the opticals were produced with titles supered over picture. I also shot some titles for black screen for other projects. Using the same mounted B&W transparencies. Once on a rostrum and another time mounted on a carboard box, with diffusion, a lightbulb inside. I'm not sure what technology was used in the analogue video era. People shooting on film for TV paid a fortune to dop in titles or product shots in 1" analogue suites. Commercials were often taken to answer print before they got there. At leat they were here.
  9. Gregg MacPherson
    George, People are interested and want to see the device you were developing. If they can make a single click to see it and read about it they will go there. For the logical proposition (if.....then), what about this. If they see something really cool, then they may join up to your blog etc. The other way around will be less popular. Cheers, Gregg Edit. spelling
  10. Gregg MacPherson
    Some ingenious folk have been experimenting with iphones etc to make video taps for super 8 cameras. http://www.cinematography.com/index.php?showtopic=59709&hl= I tried a quick experiment with an ipod on a Kinoptik finder on an ACL. I needs a clamp to grip the ring that holds the rubber eye cup and a clamp to hold the ipod. This clamp/mount system needs some flexibility somewhere so that nothing is brocken when bumped. Could be a great solution for hand held shooting where you can't have your eye on the viewfinfer. Cheers.
  11. Gregg MacPherson
    So I did take an ipod, remove the eyecup from the viewfinder and try to find the approx best position. To give a roughly stable position I cut a hole in a plastic bottle top and sat that on the eyepiece. The corner of the ipod sat on that. Sadly the zoom wasn't working on this ipod. It would be possible to make a clamp system that attached the ipod to the eye piece. The viewfinder here is the Kinoptic which has a very big image. Sorry for the crappy photo.
  12. Gregg MacPherson
    Ok, I understand the objective. Finding the sound for your sync shots easily, and being able to adapot a more observational aproach, enabling a freer association of picture and sound in the final film. If you have a bloop generator to mark sync start that will help with syncing up.
  13. Gregg MacPherson
    Freya, You're suposed to watch the second video, then go somewhere to subscribe, after which you may get the answer. Cheers, Gregg.
  14. Gregg MacPherson
    I'm not sure what use pilotone will be. An example of hew this was used originaly. The Bealieu R16, non Xtal sync, had a litle shaft driven module that produced a sine wave. This could be recorded onto one of your reel to reel tracks. When transfering to 16mm mag tape the pilotone wave was used to match tape speed to the original camera speed.
  15. Gregg MacPherson
    The spiral was about 600mm wide from memory, made of stainless with an open stainles tank. I don't know who made it. I left it at the canterbury School of Fine Arts around 1984. Maybe it's still there.
  16. Gregg MacPherson
    If a camera is Arri bayonet mount it can't take PL mount lenses. If the camera is PL mount you can use Arri B mount lenses with an adaptor. Arri B to PL mount adaptors you may see on eBay are for Arri B mount lenses. There are quite a few lenses around with those mounts if you are buying. Most rental lenses are PL mount I think.
  17. Gregg MacPherson
    In terms of effort per foot it actually compared well with the Lomo tank. but it often put a slight scratch on the film. Needed a better human loader. The story I got from the guy that originally used it. It was used to process telerecording film. The first live TV shows here were shot on old electronic cameras, transfered to 16mm, processed and flown off to the other cities.
  18. Gregg MacPherson
    I wasn't allowing for the mirror issue when I said DSLR. Using a mirrorless cam seems better.
  19. Gregg MacPherson
    They (rental company) may sweetly oversell you on what you need. If you want to save money have a chat with someone experienced. For example, why do you need a video tap right now? Cheers, Gregg.
  20. Gregg MacPherson
    Cory, I am a but envious of that tank. Years ago I used (still have) a 30ft version, shooting quite a lot for a short film I was trying to make. Most stuff went through a home made optical printer, so the short lengths weren't a problem. I also had a 200' stainless open spiral. Ah, the joys of sucking up bulk fixer fumes in a darkroom. That (200 footer) was a real pain to load and scratched the film a bit. My thought is that in NY you definately have enough people to run a continuous B&W processor (as a co-op, a bunch of friends). It could be a small one. It wouldn't need to run every day. Re your DIY telecine. Rather than use an image on velum, why not macro focus/ xtension bellows focus/ reverse the lens to make an image direct on the DSLR sensor? There are other threads on this forum that may be usefull to you.
  21. Gregg MacPherson
    Hey Cory, Can you give us a quick description of your hand processing and DIY telecine. There are probably enough people in NY to have a co-operative B&W continuous processor. Cheers, Gregg.
  22. Gregg MacPherson
    I am going to steal my son's Ipod when I can and try fiddling with a 16mm camera. If we all are experimenting please share some results. Lots of little details could make this work or not on a particular camera / viewfinder. Bravo Moises !
  23. Gregg MacPherson
    I don't know if this is one of the cameras you are looking at, but I had a bad experience buying from this guy, Dr Helmut Diewald. http://www.ebay.com/itm/171013070197?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1438.l2649#ht_595wt_927 I bought a magazine that was not of the type described, was below usable condition, not packaged properly so I think took some damage in transit. No interest in a remedy from him. This wasn't on eBay though. Good luck
  24. Gregg MacPherson
    Read Adrian and Stuart. To meter the actual T stop with an incident meter, get close to the actor or the significant thing in the frame, pointing the hemisphere straight to the lens. Avoid blocking any light to the sphere. A nice way to get a feeling for the relative values in the image you are taking is to use a spot meter. Stand at the camera. A small piece of 18% grey card is useful, but you need to put it where the incident meter would go, pointed to the lens. It should give you about the same value as the incident meter. The photo above I can't see well. It's been turned into pixels about 1cm squared. If the fill is just reflected from the walls it's still a source per se and will be included in your incident reading These are just basic ideas to get going with. Cheers.
  25. Gregg MacPherson
    Mitch, I didn't quite get what that meant about Southland. Can you explain that a bit? Thanks, Gregg.
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