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Zac Fettig

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Everything posted by Zac Fettig

  1. Small detail: Regular 8 is 1.36 (0.177"/0.130"). Super 8 is 1.44 (0.228"/0.158").
  2. It (most likely) uses a servo motor attached to one of the pulleys, and counts on friction between the o-rings and the film to move. I'd assume they use an edge detection routine off the camera to find the sprocket holes. It's a headache to program, but costs nothing in production. Plus, it lets you remove the jitter in software fairly easily. Important since the unit doesn't have any registration. Firmware is free. Costs nothing. Gels cost money. A wetgate would be nice. A 16mm version would be nicer. I assume the design is scalable, and he'll release a 16mm version for more $$ when the bugs are 100% worked out. Just speculation on my part, though.
  3. If anyone has one of these, please post sample clips! Especially for neg. I'm dying to see what end user's results from this are. I think a lot of people are.
  4. There are Arri to MFT adapters. http://fotodioxpro.com/index.php/fotodiox-arri-s-lens-to-micro-4-3-mft-system-camera-lens-mount-adapter-v2-w-aperture-control-dial-fits-olympus-pen-e-pl1-e-p2-e-p3-e-p1-e-pl2-e-pl3-panasonic-lumix-dmc-g1-g2-g3-gh2-gf1-gf2-gf3-gh1-gh2-gh3-g10.html There might be a run on these in a few months. All the lenses will probably WORK. But the wide ones will vignette. So no 5.7mm lenses. You should be fine with any 12mm or longer lenses. Most 9mm lenses would probably work also.
  5. It'll be WAY easier to start with a 1-perf camera. I don't think ORWO stocks 2-perf in the US. They might special order it. But they don't stock daylight spools. On core only. Kodak makes 2-perf available on daylight cores. Vision3 200T (7213), in 20 roll min. orders @ $43.21/ea roll. Not quite in the vintage spirit. Spectra sells 2-perf in Vision3 500T, I believe. Again, not in the vintage spirit. If you want the easy way, get a B&H Filmo 70 DR. It's basically the same, mechanically as a 70A. Spring wind it, then use old lenses. Some of the D series Filmos are period correct (Some DA and DL, I think), and most will take 1-perf (the brown ones will). Plus, you'll have an easier time with transfers. My 70A is 16 FPS (I think). Or, use an Eyemo. They started making those in 1925. The design didn't change until the late 70s, early 80s. And they used a ton of those things for shooting newsreel stuff back then, and into the war years (WW2, Korea, Vietnam). On the downside, 35mm is more expensive. And you need to get it on a spool. I wish someone made an affordable rotary perf cutter, but no one does.
  6. It looks good! I personally avoid using the zoom while I'm shooting, but that's just my taste. I find it disorienting when I have to watch the footage later. Compose the shot, then hit the trigger. Pan if you have to, move the camera if you have to, but avoid the zoom.
  7. Nope! I'm happy with it! Trying to line up a shoot with it this summer. :D Bought a bunch of mags and built a power cable for it. The secret was, I bought it when the Scarlets started to ship. Nobody wanted 16mm at the time. A problem with eBay is that some people who keep reposting the same cameras, over and over again, for ridiculous prices, hoping someone will bite. The people looking to clear out their garage think those are what the camera is actually worth. "No, a 1014 XL-S isn't worth $700." "Your CP-16R isn't worth $2500." "No one in their right mind will pay $250 for a Eumig Nautica with seals in unknown condition." etc. etc.
  8. The E has a variable shutter too. But it's capped at 150 degrees. And not all that accurate. A 220 degree shutter in low light can be really helpful. Usually people don't say they hate me until I show them the (working) Arri 16S/B I got with an Angenieux lens for $500! ;) The $35 one didn't work very well. The mechanism was intact, but it had a broken battery wire, in the hinge. But the $24 one works like a champ. It has trouble holding aperture in manual (the rubber adjusting wheel is worn out), and the filter ring was dinged (luckily I had a non-working one to scavange parts from). Both were off eBay. Both were listed as "untested." Anyone who wants Super-8 wants the top of the line. So the rarer 1014 is more in demand than the 814. Maintaining them is hard, so the AZ and XL-S are more favored than the AZE. So the 814 AZEs tend to be a bargain.
  9. For what its worth, I have an 814 E, and it's great! I wish I had the split circle viewfinder, but you can't have everything! Personally, I wouldn't bother with crystal sync for super 8. Just me, but I don't think it matters that much. Both the 1014 E and XL-S are excellent cameras. The glass is the same. I think the coatings on the XL-S are slightly different. From personal experience I can tell you, that the E is in fact a bear to repair, should you need to repair it. I have an 814 E on my parts pile for just that reason. The XL-S has a 220 degree shutter, and the E has a 150 degree one. Go with the one you get a better deal on. I wanted a 1014 XL-S. They were going for $300-$350, at the time. I won an 814 E (working) off ebay for $24. I got another one for ~$35.
  10. It should be the value after compensation. Otherwise, what's the point? It would always be underexposing the film 8-20% (depending on the prism).
  11. Only if you're editing on film. If you have to do telecine to work in a NLE, it costs the same; at least in the US. http://www.bhphotovideo.com/c/search?atclk=Format_Super+8&ci=341&N=4289360509+4294955497 Vision3 and Ektachrome are still running at $20 each, in super 8. Processing is about the same.
  12. Here ya go. Glad I saved a box from my last shoot! If you need higher resolution, PM me. There's a 100kb limit on files here.
  13. Zac Fettig

    CP-16r

    No. Not beefy enough. Fully loaded the camera+lens+fully loaded Mag will be 15-20 lbs. Look for one rated for 20 lbs, at least.
  14. Shoot a faster film with lower contrast. That lighting sounds tricky (but doable) for Vision 500T. Tri-X is a PAIN to light correctly in low light. It's only got 1-1/2 stops of lattitude total. (3/4 up, 3/4 down) If you want B&W, turn the saturation to 0 in post. Unless your workflow has you editing on film, you'll save yourself a ton of headaches down the line. Other advice would be to make sure you've got a reflector in the fireplace. No need to waste any light. If you can dress the set, large mirrors or brass shields on stands to bounce light might help some.
  15. Zac Fettig

    CP-16r

    It's a great lens. Just not for that camera. The CP-16 takes CP mount lenses. C-mount is VERY different from CP (c mount is a threaded mount, CP is a bayonet mount; for starters). Luckily, they've made a bunch of great cinema lenses in CP mount. Unluckily, you usually have to pay for them. Luckily, they're usually cheaper than Arri mount lenses. If you look around, you can probably find a Nikon-CP lens adapter. I don't know of anyone making one anymore, but they used to. That's probably your best bang for the buck bet. Angenieux made a few cinema zooms in CP mount that will give acceptable results. Zeiss made one (I think think this one's too pricey, but that's just me): http://www.ebay.com/itm/Zeiss-10-100-T3-3-Vario-Sonnar-CP-mount-5300727-/280886135544?pt=Camera_Lenses&hash=item41661e4af8 If you want something more expensive, look for CP mount Cooke or Zeiss primes. The price for the camera was very good. That camera doesn't have a registration pin. But usually a CP16 will register better than that. My gut says that the folks above have it right. The loops were formed too tightly. If you're worried about the hole, tape a cover over it until you get a new lens. Probably easier than finding a CP port cover these days.
  16. It's a pretty good camera. First, put batteries in and see that it powers up. Make sure the motor spins (you'll hear it if it does.) http://www.super8data.com/database/cameras_list/cameras_sankyo/sankyo_mf404.htm The best way to see if it works is to run a test film through it. It'll auto meter for 25D/40T or 100D/160T. Get a roll of Tri-X or something similar and run it through. Get it developed. Make sure the film isn't jamming.
  17. I saw a 16mm Steenbeck being given away on craigslist about two years ago for just this reason.
  18. The camera has a variable shutter. That knob adjusts the shutter angle. From 150 degrees (Open) to 0 degrees (closed). It has nothing to do with the aperture. If you want to do a fade in or fade out in camera (as opposed to in post) you just need to turn that knob with the camera running. From "Closed" to "Open" for a fade in. From "Open" to "Closed" for a fade out. It's in the manual (http://www.mondofoto.com/manuals/canonautozoom814electronic/). There's a shutter table there too. Personally, I leave it on open, and lock it there (that little slider thing is the lock). Since I edit on a computer anyways, I just do the fades there.
  19. Filming During the storm is usually easy. The sky will be filled with clouds, not sunlight. Take an average reading, and let it go. Afterwards, you'll probably need ND filters to filter out glare from the snow.
  20. Thanks Guillaume! I'm sure people looking for a power solution will appreciate it. In a lot of ways, I like your solution better than mine. It probably weighs less and will run a little longer. Those arri plugs are hard to find these days.
  21. Rodriguez was a film student at UT-Austin when he shot El Mariachi. His plan was to spend the summer making "a foreign film."
  22. Hey, I know a lot of people are buying old Arris then trying to figure out how to power them. I don't know how many people are interested in getting 8V to their Arri 16S or S/B. Most people will want to convert to 12V if you plan to use it a bunch. There are a bunch of professional shops that will do that if you want to. I thought I'd share how I powered mine, if anyone wants to go down the same path. I modelled a shell in Solidworks, then sent it out to be 3d printed in Nylon from Shapeways. It cost about $10. When it came in, I needed to drill out the holes. Otherwise it was ready to go. I pulled out my old Quantum batteries. These were intended to power handle flash units. Also old digital cameras. These can be bought fairly cheap on ebay (~$30/ea). But most need to be re-celled. The cells cost about $20/each. This was a good solution, since they run 8V DC in a portable package. Also they are sealed lead acid, so high current draw isn't a big problem. Also, I already had them on hand, as well as a sacrifical cable. I cut the end off the sacrificial cable. Positive goes to the big pin on the left (9/64"), negative to the smaller pin on the right (7/64"). I had intended to build plug sockets out of 240 Brass tube. But I got impatient, and just ran the wire through, and bent it at the edge. I press fit the shell, with wires, over the pins with a hammer using light taps. It's all in the wrist. They make a good contact. I ran a few feet of film through and everything seems to be working well. This is a semi-permanent installation. I don't intend to remove the cable, but could if I ever had to.
  23. The auto metering system on the 814 AZE is more trustworthy than the manual metering system. The aperture is electronic, and controlled by a little rubber wheel, which is now 40 years old. If you set the aperture, it can jump around a lot. If you replace the rubber (not easy) then the manual metering system will work fine. For example, if you set it to f4.0, you can watch as it jumps up to f5.6, f8.0. If your camera can hold a position, then your method will work fine. Test it. Set it to f8.0 in manual, and watch the needle. If it moves AT ALL, do not use manual metering. If it stays in one position, give it a shot. The camera meters TTL (through the lens) so if you put filters on, the built in meter will include them in the reading. If you use an external meter, you'll have to adjust for them.
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