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John Jaquish

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Everything posted by John Jaquish

  1. Selling on ebay: http://www.ebay.com/itm/332293795561 Lens is in very good condition. Comes with: - Visual Products PL adapter (itself $400 new) installed (can be removed easily; is an Arri S mount underneath) - Lens Hood - Original front lens cap and new PL rear lens cap Please let me know if you have any questions.
  2. Hey all, A feature I shot on ORWO black-and-white 35mm is screening (on DCP) at 7:30pm on Monday, June 19th at Anthology Film Archives. I wanted to let anyone know who may be interested in the film stock. We're doing a short Q&A afterword. Information can be found here: www.themutineerfilm.com Either way, I'd love to meet some folks while I'm out there!
  3. Thanks for your ideas, Bruce. I noticed you had posted something similar in the General Discussion section, but I figured it might get more discussion here. Yeah, I'm being pretty conservative for now with any sharpening, only using it on a few shots. I'd love to be able to test some of this with a DCP.
  4. Thanks Tyler. Yeah, I certainly am not finding any lack of sharpness in our footage; I'm not sure why I was thinking that adding sharpening may be a routine operation in grading (was probably reading a lot of stuff on grading digital projects and wanted to make sure I wasn't skipping something). There's maybe four shots in the film where we used a particular wide lens that appears less sharp than the other shots, that I may play around with sharpening on. On the other hand, we also have a few shots that are particularly grainy. I was playing around with the "remove grain" filter in After Effects, and just didn't like the softer result (admittedly, this was my first time using the filter, so I'm no expert, but I spent a few hours experimenting with it). Ultimately, I'll choose the grain over the soft image. Maybe if this were in color, I'd be more inclined to take out some of the grain, but not with black and white.
  5. I'm currently grading a project shot on BW 35mm. "DI" may be a misnomer here as it's in HD Prores, but anyway... I had a question about the general use of sharpening and its effect on grain. From my understanding, adding sharpening in post on projects captured digitally is somewhat common (?), but I'm wondering if that's the same for projects shot on film. That is, should sharpening be more of a corrective measure for shots that need it, or is it a routine step in the grading process (and is that different between digital and film projects)? Additionally, how is that tied to degraining? Do most films shot on film go through a degraining process? In that case, I realize sharpening would be applied after the degrain. I've been playing around with the unsharp mask in After Effects and finding that it's accentuating the grain, which is probably no surprise. Though, I'd prefer not to go through any sort of degraining for this project. In a nutshell: Is digital sharpening a routine step for projects shot on film, or is that only if degraining has been applied (corollary: how common is degraining)?
  6. Thanks very much. We're starting to send it out to some festivals now in the hopes of finding a distributor. Otherwise, we'll be distributing it ourselves.
  7. Still available; completely open to offers. http://www.ebay.com/itm/331846587392
  8. Hey all, I wanted to share the new trailer for the film I've been working on - "The Mutineer" (feature), about a group of criminals, fleeing a gun possession charge, who take over a farm in rural Appalachia and try to secede from the U.S.: Shot on ORWO 35mm. Comments are certainly welcome.
  9. http://www.ebay.com/itm/331828495460 I've had this rig for years, and it's still flying cameras. It's rated for cameras 15-25 lbs, though I've definitely pushed it up to 30 lbs or more (e.g. RED One with a RED 25mm lens plus extras, etc.). You can also get a weight plate for lighter cameras (not included here). It's not the prettiest thing, but it works, especially if you're looking for a beginner rig that can fly heavier cameras/set-ups. The big suitcase-looking thing is in fact the original case, though you could fit this into a couple of Pelican cases if you want to get serious. SD rig with 2-pin LEMO power. Comes with the following: Post Arm Vest Dovetail Plate 7" SD Monitor 3-Stud 14.4v Varizoom Batteries (x2) Docking plate to attach to stand (stand not included; I use a C-stand) Case shown in pictures A variety of cables, including: BNC (x2), 2-pin LEMO splitter, 2-pin LEMO to P-/D-Tap, 2-pin LEMO to P-Tap splitter, 2-pin LEMO to DC, 2-pin LEMO to 6-pin LEMO (for RED One power) and 2-pin LEMO to 3-pin XLR power
  10. http://www.ebay.com/itm/331828473205 This lens is in excellent pristine condition, free of scratches, haze, fungus or dust. From my understanding, this is a late serial number. Arri Standard Mount. Comes with original Lens Hood (not pictured) and front cap. Also comes with a Tiffen 2x2 ND0.6 filter, which is inserted into the lens internally (and a Tiffen filter bag for that, though not its original). Custom rear cap included.
  11. http://www.ebay.com/itm/331828476309 This lens is in very good condition. Free of scratches, haze or fungus, though it does some minor internal dust (which apparently has no effect on image quality, as this still produces gorgeous images). Arriflex Standard Mount with front and rear caps included.
  12. These lenses are in excellent pristine condition, free of scratches, haze, fungus or dust. Each comes with a PL adapter (note: this adapter can be easily removed or installed with a hex key (adjustment will need to be made for exact flange focal depth of camera). It is currently on lightly since I only had a PL rear cap). 35mm: http://www.ebay.com/itm/331828447547 Note: I do not have a front cap for this lens -- the lens has been stored with the front covered with lens tissue. Will ship it securely. S/N: 8902506 50mm: http://www.ebay.com/itm/331828440881 S/N: 7431726 75mm: http://www.ebay.com/itm/331828444183 There is a ~1mm scratch on the front element directly in the center. I couldn't get it to resolve in these pictures and it certainly has no effect on the images this lens produces, which have been gorgeous. Otherwise free of scratches, haze, fungus or dust. S/N: 6827745
  13. http://www.ebay.com/itm/331828427604 I'm selling this great Arriflex 35BL-III package. I just shot a small feature film on it; the camera's been working great and all components dependably. It was also just serviced (the shutter belt was replaced with an original ARRI part by Visual Products; I can send you the work order if you'd like). Included along with the camera are the following items: 400' Magazine (x2), with case 1000' Magazine, with case B/W Video Tap (note: this video tap attaches to and replaces the viewfinder; worked perfectly while operating a Steadicam) 12" Extension Viewfinder Handgrip with run switch Baseplate Cinematography Electronics Speed Control unit and cable (note: I do not have an attachment bracket for this, though one can be easily rigged) Miscellaneous: 2 power cables, 12" carbon fiber rods, 18" aluminum rods, new internal memory battery and box of fuses The camera is Normal 35mm with an Academy gate. Included is a 1.85 green glow ground glass. The mirror shutter has normal wear for its age, but is functionally great. I have two more 400' mags that I'd be willing to toss in to this sale just for the extra shipping cost (though, I have no case for them and one is missing a protector).
  14. Gregg -- I would greatly appreciate any IIC documentation you might have as well.
  15. Update: occam's razor...it was the GG.
  16. Thank you much for the kind words, Rudy. Incidentally, still haven't had the chance to test the camera with the GG switched. Will post an update when I do.
  17. Charlie, thank you so much for your detailed response. I was on a shoot yesterday so couldn't get back to you immediately. I'll respond to the points you brought up to the best of my knowledge: We were shooting on ORWO N74+ and UN54 black and white film (similar to Kodak Double-X; it's "standard" black and white film, i.e. not infrared film). I should say I'm not certain it completely lacks an anti-halation backing, but understand that if it does, it's less substantial than color film. We were shooting on black and white film because we wanted the film to be in black and white. We weren't going for any look or effect apart from that. Although I understand and very much appreciate all the info on the 35-III, I find it hard to believe this camera lacks the capacity to shoot standard black-and-white film. I feel as though there's something else going on here, though I of course could be wrong. For example, our main camera was a 35BL-3. Now that I look at the BL-3 again, it also has chrome "ridges" on the pressure plate, and we had absolutely no issues with that footage with the same film stock (also, our 35-III pressure plate looks identical to the picture you attached -- the "valleys" in the grooves are still black, and I was assuming the chrome on the ridges used to be painted as well, though perhaps not). Further, the 35-III does have the two light baffles, and they are intact. Now that you mention the GG not being seated properly, it seems the shots we got from this camera are also slightly off center horizontally (for example, in that still I posted, I probably had framed the actor more centered). I have now replaced the GG with a proper one, and hoping that was the issue. Of course, I'll need to test the camera again, and it would be a good idea as you mentioned to also test it with some color film. Of course, that'll teach me to shoot with an untested camera; though fortunately, we probably only got three or four shots with this camera for the whole film. The issue with the daylight exterior shots is much more subtle than the still I posted above (and like I said, the issue almost disappears for that shot when light's not flaring the lens). (Also, Evan, I performed the sync test and see no movement of the film while the shutter's open). Thank you all for your input and please let me know if you have further ideas based on this updated info.
  18. Thanks, Evan. I'll try the sync test either way and see if I come up with anything. Thanks, Simon. With a new GG, it's still not entirely sealed, though certainly more so than with the previous one. I have noticed the issue seemingly independently of lens focal length (in fact, we have a couple of zoom shots where it's present throughout the zoom range). Would it still be a good idea to try blacking out the pressure plate with a felt marker? I suppose I'll have to run some film tests for these adjustments.
  19. I have not, though seems reasonable. Do you know how I'd test that? One other thing I noticed is that the metal frame for the GG is missing (ie the one glued to the glass, that you would pull to remove the GG). Not sure if that would cause any sort of light leak, but replacing it seems to seal it up a bit better.
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