Steve Zimmerman

I tried using my roommate's thickest gun grease: http://www.midwayusa.com/viewProduct/?productNumber=573734 I'll see how this works. I still only know how to get at the main gears behind the big panel with all the screws. I don't know how to get at the bearings for the rollers.

I was planning on taking my 400ft mags apart and lubing the gears before taking my first shots with my 1M repaired by Bernie at Super16inc. These mags have not been used for at least 3 years and anything to make my camera less noisy is always appreciated. What should I use for lubricant? I don't want to use sewing machine oil and have it run all over. I read in another thread about an Eyemo to use synthetic clock oil: http://www.ofrei.com/page246.html I did not see anything like that at Filmtools.com http://search.store.yahoo.net/cgi-bin/nsea...x=14&go.y=5 If anyone has the complete version of this guide (even just a text version) to lubing the mags, it would be greatly appreciated. I read it a couple years ago and it figures when I finally get ready to shoot something it's gone :-(. http://web.archive.org/web/20070208203248/...admin/mag_lube/ What do you guys recommend? Thanks, Steve Zimmerman

I'm selling four pristine 100ft daylight spools of out of production, 16mm reversal film. These have been cool in my fridge since I bought them, from Dwaynes Photo in Feburary 2006, soon after they stopped manufacture at Kodak (See pictures of receipts). Please make an offer, Thanks! Steve Zimmerman. http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=170317043597

These go for $300+ new! http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=170316734849 Thanks for reading! B)

Oops! It's actually it's not a feature yet... http://i.gizmodo.com/5190883/shooting-a-fe...ous-workarounds

Trailer for the first feature shot on a dSLR http://www.engadgethd.com/2009/03/30/searc...shot-on-a-dslr/ Rumor that Canon is creating their own RED type pro camera. http://www.canonrumors.com/2009/03/new-video-camera-system/ Film still rules, but can't wait until there's an affordable digital camera with a PL mount for using my Lomo Anamorphics :rolleyes:

I have revised the ebay listing for the film, reminding the buyer to underrate it.

Yes, I admit, I should have frozen it. I would recommend that the film be underrated a stop or two to help minimize the fog. I would figure someone would want an older film like this for shooting gritty images, not slick and smooth pictures anyway.

I posted this on Ebay: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=170316334422 I'm also selling my barely used Fluke 337 Clamp Meter: http://cgi.ebay.com/FLUKE-337-337A-1000A-A...1QQcmdZViewItem Thanks for reading :D , Steve Zimmerman

I'm not sure, but it looks like A Clockwork Orange uses a flashed positive for some of the blown-out highlights from whited-out windows (i.e. when Alex, lying in bed, first meets the female psychiatrist), and the bare lightbulbs in some of the shots. It looked like the contrast changed when it cuts to the reverse angle so maybe it was only certain shots and not an entire scene that was positive flashed? I had not noticed this before watching ACO on High Def cable. I always wanted to ask about this, Thanks. :)

The models and animation in Antics look great, and easier to animate than FrameForge3D 2(which I own). --But looking around at the Antics site, it seems to lack any capabilities for depth of field rendering, something that FF3D2 has, which was a major selling point for me. Competition is always good. With FF3D2 you can customize to any format, 1/3" CCD to Anamorphic(16mm or 35mm) and 70mm,controlled by T-stop. A little slow at rendering DOF at times, but it works great for that. Nice to try out your location's dimentions and see if your camera will fit in your location and give you the shot you had in mind, or you can make adjustments.

OOPS! I thought that might be the case.

http://www.kilian-nakamura.com/blog-englis...-projector-set/

Film restoration expert Robert A. Harris has a great article on the subject http://www.thedigitalbits.com/articles/rob...rris062408.html

I have to use a lowel Omni/tota kit for shooting interviews for my job. I find them to be extremely portable, but also very harsh looking by themselves. I think they look really ugly unless they have a lot of diffusion on them (like spun glass), which wastes a lot of their output. The light is not smooth and you get double shadows. They are also hard to control as a backlight. As a key light forget it. It could be the stock reflector that comes with them. It acts like a mirror, causing the light to glare off of skin. I think they sell different ones you can switch out. Any fresnel light looks great even without diffusion, including the Lowel-made "Frens_L" lights. Just the Omnis and Totas are weak if you want your lighting to be good.

Looks like there needs to be some additional education of the masses about film grain, just like letterboxing in the past. Some uninformed comments mixed in here. If grain is in the original film, it should be there on the High Def media image. http://gizmodo.com/392663/hollywood-attack...ain-for-blu+ray

Looks good. What lenses were you using? It looks anamorphic from the flaring(?). I hope to use my Lomo anamorphic lenses to shoot a commercial or music video when I get my Konvas 1M motor fixed.

It's PL mount. I just shot my first short test with my 3 lenses last week. Looked great through the viewfinder. Hope to do a 2nd test and then send the film off. What high contrast stock are you using? Do you use Black and white film factory or another lab? Where do you transfer to video? A friend of mine is interested in shooting a short in black and white, and I'm trying to convince him into doing it in anamorphic 35. Steve Zimmerman

I used Duclos lenses.

I had a similar problem with my Round Front 75mm Lomo anamorphic lens. I would not focus well unless it was really stopped down. Even then it was weird. The lens needed collimating and the mount was shimmed up. The lens tech charged me $100. It focuses fine now, even wide open.

This is worth a try :unsure: I am finally starting to gear up to do some shooting. I just got a PL modified Konvas 1M. A few months back, I had the "clocking" (as the lens tech called it), adjusted on my round front 75mm anamorphic Lomo and the mount was collimated. Now, after putting my 50mm square front BAS anamorphic lens on the camera, and looking at some charts, I find out it's squeeze element is not perfectly square either. My 35mm BAS square front lens is squared up :lol: . I know the round fronts have a screw than is loosened and this can be adjusted. Is there anything like that for the squarefronts? It's only a tiny bit off, so its a drag to send it off *IF* I could easily do it myself, because it focuses fine otherwise. Any ideas? Thanks. Steve Zimmerman

I feel the key to black and white shooting is you NEED to use contrast filters. Even a basic yellow makes all the difference. Unfiltered black and white looks really bland. I found a used light red 6.6x6.6 filter last year. You are right, Fomapan film does not have B&H perfs, it's KS perfs, doesn't 5285 reversal camera film have KS perfs too?

About a year ago, I was talking with Freestyle Photo about special ordering a couple 400' rolls of 35mm Fomapan 100 or 200 on cores from their Eastern Europe factory. They agreed to do it, but I never did actually order it. They were charging the same price as retail Kodak B/W. Sometime I hope to give it a try. Fomapan does have a unique look to it. http://www.freestylephoto.biz/c_contact.php

This german site sells S8mm and 16mm Velvia. http://www.wittner-kinotechnik.de/katalog/...mm/16_filmm.php Order page in English: http://www.wittner-kinotechnik.de/katalog/...der/order_e.php

I guess this director has done a few 16mm widescreen films using "special anamorphic lenses". http://www.dvdbeaver.com/film/DVDReview/japon.htm