Gregg MacPherson

But Adrian it's allways sunny in Philadelphia.

If the forest is dense you should definately check some worst case light readings. 100D may be fine with fast lenses. Think it through with a DOF calculator. I only had a standard 16 Kelly to look at, but if you had f2.0.... I got this for 9.5, 12, 16mm lenses.. Standard 16, 9.5mm, f2.0, DOF from 1.8m to inf. 12mm, f2.0, DOF from 3.2m to inf. 16mm, f2.0, DOF from 5m to inf. So I think your wide scenic shots would be OK. If you do some sample plans of the shot geometry for the closer shots you can check the required DOF for those also. Do people still use wheel calculators for DOF or does everyone do on an iPhone or something like that? Cheers, Gregg.

Hey Tim, I quite liked some changes I saw in the way the forum works. Filtering for new posts for example. Some of the small very light grey text you use is a bit hard to read, like the text that identifys the person who originally started a topic. Cheers, Gregg.

Hey Matej, What I'm saying may be redundant, but here goes anyway. As a general philosophy (for any kind of experiment) , if test conditions are controlled, then we have a better chance of answering a particular question. For example if we are interested in N16 vs S16, some question re images with "huge halation" you could include a test for that, both in studio and EXT. One would attempt to replicate the N16 vs S16 shots. One would normally use the same lens and the same fresh film stock. One is trying to eliminate other variables that could affect the answer. There are more basic questions about N16 vs S16 that pretty well everyone will ask. Will I see more grain, will it look softer. To get anything like a useful answer you can't introduce random variables like different lenses or stock of varying age. Re the comparison between your Ang and Zeiss zooms, resolution, apparent sharpness and contrast. If you can find a tech with a lens projector you should get some good answers. If you have clear questions on those issues and keep it to a small number of focal lengths it wont take long. Bear in mind that you may have a bad Zeiss and a good Ang so the result is not generically useful. Actually there will be lens techs on the forum like Dom Jaeger who will have had these lenses (Zeiss 10-100 T2 vs Ang 9.5-57) on the projector and will have an opinion about the difference. I think it's been discussed before. But regardless of the result of the lens comparison you should use the same lens for both parts in a N16 vs S16 test. Cheers, Gregg.

Hey Eloise, Adrian, If you shot a test with a Wratten gel filter behind vs a glass filter in front my assumption would be that you would have great difficulty noticing any softness in the gel filter shot. People used to use those bolex behind the lens gels all the time, Eclair ACL also. I read somewhere that you may get a tiny back focus shift that you might see on a wide lens. But the fact that the gel is not sitting perfectly flat was never an issue. One could do some tests with a digital stills camera at high resolution with gel filter behind or in front of the lens. The filter in front test could be a comparison to a glass filter. My guess is that we can't see a difference, or something close to that. Though maybe the gel filter not being flat is an issue if in front of the lens (just a guess). The origional question of lighting gell vs Wratten gel designed for the purpose. Maybe also it will be impossible or nearly impossible to tell the difference. Cheers, Gregg.

Hey Matej, I enjoyed looking at your test. But it doesn't seem very scientific as a comparison, to me. Maybe that's why you had a smile icon after calling it a "benchmarcK". I had these thoughts below. -You need the same sharp lens for both formats. Preferably a sharp prime, but the Zeiss zoom is probably OK. The notion is to remove the lens from the equation as much as possible. The Angeneiux 9.5-57 looks noticably softer to me. While that can look pretty its not usefull for an initial comparison. -I would shift the test to a small improvised studio where you can have complete control. Shoot with identical lenses, the same subject matter, the same lighting. Basically try to replicate the shots. -Initially the things you photograph need to be stationary. The 1st shot in your test of the cyclist is really hard to make use of because of movement and focus. Those are my thoughts anyway. Can you mount your Zeiss zoom on one of your N16 cameras as well? Cheers, Gregg

I have seen viable looking S16 cameras on eBay for under $1500. Some people put a low start price and just accept what happens. It can take a few weeks sometimes to find a buyer if the start price is set at the likely sale value. One has to be patient. I agree that standard 16 is a great opportunity for low budget shooting in film. The cameras are a bit cheaper and the lenses are way cheaper. Cooke Kinetal primes are a lot cheaper than Zeiss super speeds. A Zeiss 10-100 T3 which covers standard 16 often sell really cheap. I don't understand that last comparison between your multicamera 16mm setup and the 35mm Arri II. Also I don't think having two cameras permanently available makes you a better film maker, or better able to develop your craft. Shooting single camera is good discipline, shooting a lot of multicamera coverage can be bad discipline. But that's just ny feeling about it. Cheers, Gregg

You have a max of 3.6Kw on each wall socket circuit to the fuse box. The total available wattage in for example a house is a lot more. For example, my home here (Auckland NZ) I have five cicuits for wall sockets, plus a stove (32A). The mains tripps at 63A (15Kw). You can do a lot without a generator, or HMIs if you don't have or can't rent. Do you have something like TradeMe over there. People will be selling used Tungsten and HMi lights in Melbourne and Sydbey? You would not need $15K. Cheers, Gregg.

Do you have a feeling for the kind of films you want to make? Poetic/experimental/narrative? Does the camera need to be quiet? Do you want a lot of hand held shooting? What lens options would you like? If you ask yourself those kinds of questions then choosing a camera gets easier. The camera prices don't always allow for the maintenance issue. Some cameras offered will need a routine service to be safe to use. Sometimes cameras pop up on eBay with a cheap price, known service history and recent service. Are you close to any film camera service technicians? Knowing what service expertise is available is another way of refining your choice of camera. Cheers, Gregg.

You can identify the circut (circut breaker or fuse) that each socket belongs to with a test. For example switch off all but one breaker and a test light will show the active circut. If you know which sockets are on which circut then you can spread loads safely. Unless houses in the UK in fact have a separate breaker foir each room. Cheers, Gregg.

We have the same voltage and similar wiring in New Zealand. We used to check which circut (back to the fuse board) that each wall socket belonged to, then spread the load over those. I never put more than a 2K on one circut. Kitchen ovens are useful. These are rough ideas. Some more precise ideas from an electrician or gaffer who knows how to safely load up the house circuts would be a good idea. Cheers, Gregg.

I thought Allez was a really nice little film. The character obsevations feel quite mature. I guess that's a comment on the direction, acting and photograpy. You used available light and a tiny lighting kit really well. A small part of my brain registered a couple of flaws, but I was fully engaged with the film. Maybe you have a good partnership with this director, so I hope you stick together. The ending, where Sofia smiles after the kiss. The smile feels like an overt gesture (by the film maker, not the actor). I don't think it is an adequate way to carry all the ideas that it tries to. And it's over expressing things that we have already arrived at for ourselves. Cheers, Gregg

Some thoughts on the physics (without the gyros for now). Mass * Velocity = Momentum. In straight line motion an inertial force F is felt when velocity changes. F=m*a with "a" being the acceleration. But it normally looks to me that stabilisation rigs like steadicams and the lightweight variants are designed to smooth out the angular rather than linear movement of the camera. The distribution of masses in the rigs look designed to give rotational rather than linear inertial reactions. Torque = moment of inertia * angular acceleration. Moment of inertia = Sum of (m * r^2) .... meaning that you take each mass and multiply it by the square of the projected distance to the rotational axis. It looks like a common feature of steadicams and the lightweight rigs that masses are spread to increase distance r from the rotational axes. The torque required to disturb the camera increases with r^2. And the angular acceleration term. The torque (inertial reaction) being proptional to that means that the more sudden the disturbance the higher the inertial reaction that resist it will be. Cheers, Gregg

Has anyone tried some S16 lenses yet to see what the coverage really is? Data on actual image circle for each lens is hard to find. Trying to get a rough idea I drew a 15.6x8.8mm rectangle on paper and holding a lens in my hand focused an image and looked at the image circle. I have a set of Zeiss MK II super speeds here to try. The image circle gets bigger as the lenses get longer. The 12mm looked like it just covered, but the test is quite crude. So maybe 12, 16, 25, 50mm are viable. No 50mm here to try but I know that one has a big image circle.

I'm not sure what your trying for with your lens choices and mount system. Did you see this set of Kowa (CP) primes with CA-1 mount that were just on eBay. Don't think they sold. By reputation they are slightly softer, warmer and less contrasty that Zeiss super speeds (I've never used them). People who have used them seem to love them. There are some screen shots taken with Kowa primes somewhere on the forum. Here's the eBay URL. http://www.ebay.com/itm/280942528548?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1438.l2649 There have been some bargains with Zeiss MKI super speeds on eBay over the last few months also. There is an Arri B to CA-1 camera mount adapter that will let you use them on your NPR. If you are buying single lenses you could still ne strategic and end up with a set. Zeiss MKIs are quite common and cheap. Kowas are quite rare, maybe better to jump on a set if they are cheap. Cheers, Gregg.

These sound like the set that was just on eBay, but with CA-1 (Cameflex) mount. Cheers, Gregg.

Thanks for that, Cheers, Gregg.

This isn't about the cinematography, yes? You're looking for some responses to this as a film. It's very ugly, and I'm struggling to find the film maker's point of view. Is there a strong element in modern fringe film making where these type themes must be coupled with humor in order to be in play at all? Where is the compassion? Where is the connection with basic humanity? If you were a woman who was trying to metabolize her rape or sex slave kidnap experience I would say, ok, well done, a worthy fail. But I'm struggling to see your point of view as (I mean with you being) a man. The images are very hard edged. The only relief for me was the potential for eroticism, but I found none. Is this a movie for those that find this erotic, confused with the potential for comment on the ugly and the erotic? The only relief for me was at 8:03 where the little girl walked towards the house. Finally, a universe with texture where I was set free, and I could feel some compassion for the little girl. Cheers, Gregg

You can see the onboard battery bracket in the first big photo. It's screwed to the right hand side of the camera body at the back. I think I can see the fittings on the larger battery that slot into the camera bracket. The other battery is diffeent. Each type of viewfinder has it's own type of base that screws onto the camera with two small screws. I think the angenieux and Kinoptic bases are different. Looks like a French mag to me. That camera may be one that has had low use, but it's still a gamble regarding the maintenance costs if tou don't have the service history. If you want S16 then the cheapest way is to nuy a camera that is already converted. To this kit you probably also have to add a more usefull zoom and more magazines. So the costs go up.

Hey Gautam, I missed that message. How much have you yourself been paying for processing B&W and colour neg? Cheers, Gregg

Cinematographers may have a special math dispensation. For everyone else 29.976 rounds up to 29.98.

We should shift these ideas into the Eclair forum. Easier to find later and you will get maybe better answers. I think that's an Angenieux viewfinder. I think they self level. I haven't used that one but it's common, someone will identify it easily. It's different to the big Kinoptik finder I have. ACL II camera has a standard 4 pin male XLR power connector. The battery can go anywhere. Also I think any ACL can take an on board battery if the little battery bracket is screwed onto the camera. I don't recognize the connector on the battery in the eBay photos. Cheers, Gregg

That looks like an ACL II base, assume it's an ACL II body. It's sitting on a small piece of plastic that photographs so white that it looks like the base has been custom machined.

Hey Gautam, Off topic I know, but I can't help but ask. Is film processing cheap in India? What about lab costs if one was doing optical blow up from S16? I was talking to an Indian film maker recently who was quoted here in New Zealand about US$ 185000 for the DI on a feature. He did it in India for about US$50000. I asked him about processing and lab costs and he said visitors need an agent to negotiate for them. I thought that since you live in India you would know the actual prices that locals pay. Are there small boutique labs that are cheap and approachable or are the best prices from big labs doing high volumes? Where do the short film makers or micro budget feature guys go for film processing or optical blow up? Cheers, Gregg.

For any of the cameras, if it's for owning long term then you really need to know what the maintainence costs might be. To know that you need to know the condition of the camera now. Is it soon going to need an overhaul? When was the last full lubrication and adjustment. Buying a camera without this information is what creates most of the risk. I would talk to some service technicians and search this forum to get an idea of the relative costs of owning these different cameras. The shooting style of the projects may dictate the camera. If it's always hand held it's probably not the SR. The ACLII with latest motor, big Kinoptik finder, video tap and ergonomic grip is also getting heavy. You have to like the viewing system. Aaton and ACL have more than one type. Lots of people may have their own story or anecdotes about the costs of owning a type of camera. I bought an ACLI in 1983 which had done a lot of work but looked well serviced. I used it moderately over a 10 year period, guessing I shot 150 to 200 400' rolls. It had three visits to the same service guy for lube and adjust, including the lube and colimate for the 12-120 zoom. Cost about US$280 each time back then. Never needed any parts and never broke down.