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Gregg MacPherson

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Everything posted by Gregg MacPherson

  1. Gregg MacPherson
    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 If you sniff around you will find some cheap, new, not out of date stock.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.
  2. Gregg MacPherson
    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.
  3. Gregg MacPherson
    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.
  4. Gregg MacPherson
    @ 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.
  5. Gregg MacPherson
    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.
  6. Gregg MacPherson
    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....?
  7. Gregg MacPherson
    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.
  8. Gregg MacPherson
    Do you know what he modified? Thanks.
  9. Gregg MacPherson
    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.
  10. Gregg MacPherson
    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.
  11. Gregg MacPherson
    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
  12. Gregg MacPherson
    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.
  13. Gregg MacPherson
    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.
  14. 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.
  15. 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.
  16. Gregg MacPherson
    It's worth tracking Zeiss super speed prices on eBay. Worth looking at German eBay.
  17. 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.
  18. Gregg MacPherson
    That should have been "drop in". Sorry, terrible typos sometimes.
  19. 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.
  20. 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.
  21. 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.
  22. 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
  23. 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.
  24. 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.
  25. 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.
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