Jump to content

Phillip Mosness

Basic Member
  • Posts

    155
  • Joined

  • Last visited

Profile Information

  • Occupation
    Other
  • Location
    Los Angeles

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. "Depending on the scanner they might have just left a software switch flipped, so it would not matter Pix quality wise, this is possible on a machine like the Scan Station or Xena that has a "flip horizontal" button in the setup." Ha ha Robert. That happened to me from some 35mm you guys scanned for me a few years ago, I flipped it in post and it's still some of the best footage I've gotten scanned .
  2. I'm not sure what you mean by 'this look'. Are you talking about the slight matte around the edges? I ask because I've sent batches of super 35 and standard (academy)35 to the same place for scanning and it didn't seen to confuse them. The academy footage had a slight rounded-corner gate look as above, but not nearly that pronounced.
  3. Hello, This question might be better served as its own topic. I've owned both cameras you've mentioned. The big difference between the looks of the two cameras will be the shutter speeds. The Nizo has a 220 degree shutter , 1/39th , and will show a lot more motion blur. The Beaulieu has a quicker guillotine shutter and will look somewhat strobe like. 1/96th (normal) or 1'60th (LL) If it's an action scene, it'll be more obvious.
  4. Isn't the problem more on the take-up side? If you take up onto a standard spool you'll need something other than the 100' box in which to unload the roll since it'll be too large. This is one mild pet peeve about the Aaton magazines
  5. I'm assuming that the SL and Compact are similar in that they have less room in the opening. I know that any PL mount adapter that sticks out more that a centimeter(if I remember) is going to collide with the walls in there. My Arri BL and 2C are much more forgiving in that regard. Not to mention the side mounted mirror of the 2C vs. Bottom mirror on most others can make a difference.
  6. Does anyone have any practical experience getting 15mm rods onto super8? The problem I'm having is my cameras Leicina Special and Beaulieu 6008 both have offset tripod mounts so the rods on a Zacuto style baseplate end up being way off. Any solutions would be awesome. Thanks
  7. "you are unauthorized for this action" Is there a password or something?
  8. Hi Raymond, What cameras are you using? I haven't found the back elements a problem with the exception of one 22mm. I have found some adapters will hit the inner cavity of my Moviecam, though.
  9. I wish I had a full set of matching cinema primes, but for now I own a mish-mash of inexpensive lenses. A lot of them are OCT-18 Lomos with adapters and a few M42 still lenses with PL adapters. Not all M42 lenses fit into a PL adapter. There's some info online about that. The Helios 58mm works well for the vintage look, but many M42 lenses are impractical for cinema, as they were designed for stills and quite tiny . I don't have any experience with the Flektogons but I'm sure they'd work decently for the price. Keep in mind, I'm not a pro DP. I shoot my personal projects with whatever I can cobble together.
  10. I have not had any issues with the Ironglass adapters on my 2C. I have three of their M42 adapted lenses and zero problems. I have other makes of M42 adapters, also without problems. I can't comment on the newer lenses but in looking at them I suspect they're all fine. The only lens I ever had a problem with was an old 22 mm Lomo adapted from OCT-18 that was barely touching the rotating mirror. I filed down a little of the metal near the rear element ( real mickey mouse attempt on my part) but it worked fine.
  11. Cameras can tell the speed of the film based on the size of the notch on the edge of the plastic cartridge. Apparently there's a way to 'hack' the cartridge to get an automatic camera to read a cartridge to the closest setting the camera can meter for. If you can get the camera to read a 50 D as a 25D that would wok fine since that'll only over expose by 1 stop. Lots of people over expose Negative stocks by a stop in general. Here's a couple of links. http://super8wiki.com/index.php/Super_8_Cartridge_Notch_Ruler
  12. Considering how much the nation manufactured cameras and lenses, as well as having a large movie industry, why isn't the world filled with pro level Japanese motion picture cameras? Obviously they made tons of super 8, single 8, etc. And they've been at the forefront of video technology, but you'd think there would be Canon, Fuji, etc. 35mm and 16mm. (I'm aware of the Scoopic) Perhaps they had some in pre war times?
  13. I haven't seen a MFT to C-mount adapter. Since C-mount has a flange distance of 17.25mm and MFT has a 19.25mm, it may just be physically impossible. The other issue is the Sirui lens is a 50mm. Kind of a long lens on 16mm. Even with a 1.33 squeeze, your FOV is like a 37mm. The other option could be putting an anamorphic in front of a C-mount lens, like a Century/Optex 1.33X adapter.
×
×
  • Create New...