rob spence

I shot this on Super 16 on Mk 1 superspeeds, 9.5mm 1.2 included...a great lens ...most of this was shot wideopen on 500T as I remember http://www.wix.com/holdsworth/a-small-piece-of-bigness#!__page-3 and click on the scane 'Bott meets Sandy'

P and S technic seem to have finished their digi mag for the Arri SR3 ! Come on someone do it for the aaton !!! http://www.pstechnik.de/en/digitalfilm-16sr-magazine.php?utm_source=invitation&utm_medium=invitation&utm_content=hs2&utm_campaign=nab

I've just watched a short film competition ( yet another one ) and was truly impressed by the scripts...however they all had the same look, presumably they each chose to use the canon 5d as there was usually no depth of field, and to be quite honest I found the sameness very distracting...almost spooky.

Plus, judging by your clips, they seem to be shooting face shots from way below most of the time.

We normally shoot with film...but we bought a 550d as a stopgap before the next wave of digi cams are released and I have to say for 600 UKP it is a remarkable camera. By the way its not professional protocol to dunk your camera in a river, so I don't think that is much of an advantage!

Keith lol...the bigness site is down but can be accessed at http://www.wix.com/holdsworth/a-small-piece-of-bigness cheers rob

Keith...here's their number 0207 2879520

Keith Mottram ''I'd go as far as to say that 16mm aquisition is now very niche in london even after its recent mini revival.'' I suggest you ring i-lab in Poland Street and ask them ...except they are probably too busy to answer the phones...

Hi My Cooke speed panchro series 3 18mm is for sale on ebay should anyone be interested Item number: 150573323854 many thanks

Bolex...or how about an Eclair acl with 200 ft mags which is a tiny camera, I use mine for getting candid shots with great results, and an aaton for the A camera.

I have various Chroszeil fluid zoom drives on ebay, you can view one at http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&item=150549876602&ssPageName=STRK:MESELX:IT and can access the rest from that page. I think they are all for angenieux lenses from the 70's.

Has anyone heard of any device to act as a remote on switch for the video function. I'm thinking it would be great if I could start video from the handheld rig handles rather than scrabbling around at the back of the camera. I've got a wire remote but this just activates the stills button...not video.

I found this very interesting article http://www.bobatkins.com/photography/technical/digitaldof.html that seems to deal with the issues relating to using different format lenses on crop cameras. Looks like I'll be up all night studying!

Hi Adrian, I found this on a website. • If you use the same lens on a Canon APS-C crop sensor camera and a 35mm full frame body and crop the full frame 35mm image to give the same view as the APS-C crop image, the depth of field is IDENTICAL

Hi Adrian, If you coul;d just answer one last hypothetical question. I take a video with a 5D and open up the lens so that the dof is very shallow. I then take some black tape and mask off the sensor inside the camera to the size of the 7D sensor ( I said this was hypothetical!) and take the exact same shot without changing anything else. Would the depth of field change? Obviously the field of view has changed due to the black tape crop.

What I meant was a 50mm lens built for the 7D. ie less coverage than a 35mm stills lens. Rather like 16mm cine lenses don't have the coverage to be used on 35mm cine cameras.

Hi, So whats being said is that a 35mm stills lens ( say a 50mm ) used on a 7D provides less dof than a 7D format 50mm lens , but the 35mm ( 50mm ) stills lens produces even less dof on the 5D than the 7D due to the sensor size.

Hi david, thanks for replying. I was really talking about the given dof characteristics for a given lens. ie if a 50 mm ( 35mm stills format ) is put on a 5D it has a given depth of field, now, ignoring the crop factor on the 7D wouldnt the same lens produce the same dof as on the 5D. Ok so the 50mm lens acts more like a 80mm in real terms because of the crop factor, but surely the dof will be the same in each shot.

i Adrian, That's interesting...can you explain how the circle of confusion changes on the same lens when moved from a 5D to a 7D...it's something I haven't come across.

You get exactly the same depth of field on a 5d or a 7d if you use 35 mm stills lenses on both cameras...its the angle of view that changes because of the sensor size differences.

Hi I've got an arri mag in my hand with what , is probably, the same as your mag. The spindle has a circular spring around it which holds the core tight on it. Plus there is a smallish metal sprung loaded 'nipple'sticking out too. This retracts when you put the core on the spindle...what you have to do, to engage the nipple with the slot in the core, is to push the core onto the spindle fully...then put your finger on the top of the spindle to keep it still and rotate the core until the nipple pops into the cores slot. I hope this solves your problem.

Hi Gregory, There doesn't seem to be a problem with acessing the iris ring. cheers rob

Anyone got an Italian Door for an arri 2b or 2c? May be called a cosmovision door also. Or anyone got a Jurgens door. cheers rob

Hi Tim and Dom, Thanks for the info on the door...does anyone have a photo of an Italian Door, I can't find one on the web ? Obviously the issue of peering around inside the arri viewfinder wasn't solved with the 2C ! The machine shop got the collimation spot on after 2 or3 fittings, we used a small aluminium billet in the gate and measured using engineering callipers which had a drop down arm ( courtesy of a pal of mine ), I even took into account the -0.03 as recommended by the Arriflex manual to take account of the film curveture . I was thinking of an aluminium acid etch primer on the front of the turret and then paint it to match the camera and somehow matching the flock black on the indide ,as is inside the original camera. Not sure how to achieve this as yet, maybe glueing some sort of thin velvet flock perhaps. Paint sometimes flakes off aluminium, which is ok on the outside of the camera ...but not inside. Any suggestions. cheers rob

Hi Tim, There are no problems with the lens hitting the mirror, plenty of room there. I haven't checked but I think any slr lens system could be fitted, Pentax etc as they are built to clear an slr flip up mirror. The gate fitted is academy and the lens is centered to the measurements of the arri original front. My camera is in very good shape and is originally from New York, it has a Camera Equipment Co. Incorporated 31, West 43rd Street New York 26.NY plate ( in blue ) rivetted to the eyepiece door. Do you know if there would be a clearer view using an Arri 2 door, or would it be basically the same? cheers rob