sines

Apparently so bad that no one wants to comment? Yikes.

Saw this relic of a post about the Tilta Gravity, as I’m desperately seeking a solution to replace my DJI Ronin1 & MX stabilizers. In an ideal world I want to mount my Arri IIC + 200’ mag and/or Moviecam SL with 400’ mag. A Freefly Movi Pro would be ideal, but couldn’t put a magazine on the camera without either hitting the rear of the gimbal, and the Movi Xl is beyond my budget. Outside of the age, what happened with this gimbal? I assume it sucked, but it’s hard to find any info about it. https://cinescopophilia.com/tilta-gravity-review-test-app-walkthrough-using-cinemilled-universal-mount/

Found a nice price for a Sekonic L-608 Super Zoom Master [non-cine] and wondering if it made sense to purchase for an all 35mm film production. I know it can dial in FPS and shutter speeds, but the plain Jane version can't dial in shutter angle. Would you hold out, or pass altogether and use some iPhone app or digital camera for gauging exposure? Todd

Need 2 please. I have 500' + 1000' Compact Mags for trade or I can purchase outright. Please PM or email sines [at] scale • LA Thanks, Todd

I have that throat adapter here. So I could buy the mags without worry and use this adapter as well. thanks David & Tyler ?

Currently eyeing some Compact 400’ mags and realized, if I buy them, will they fit on my SL MK I? so um… Will they? ? Side note, I somehow ended up with a Superamerica 1000’ mag (instead the 2 400’ Steadicam Mags I thought I had) that won’t mount on my Moviecam SL. Anyone want to trade? ?

Glad you said it because that's exactly what we're doing. ??

If this can happen, then anything can happen. I appreciate your doubts about my "actual problems", even if a known producer was sitting on 1-10M, we'd still have this conversation, like Cianfrance did with HBO. I bought my Moviecam thinking I'd first shoot with anamorphics, only to change course, and now 2-perf is that area in-between S16 and 3-perf; horizontal resolution where you need it and cost savings on vertical resolution; anamorphic would be too expensive across the board, nor does it fit the story. I have the lenses & 35mm bodies, rigging, support, and lighting; and what's left is the talent, locations, and film, I think I've saved any producer a boatload already, and the cost of shooting, developing, and scanning film makes sense to tell this story. I don't see why we can't deliberate and justify the need to save money and also make a high-quality product. Unlike others, I started in music, titles, and post, then worked my way back to writing + directing, and have fixed, finished, and packaged enough of other people's stories to head into this with a "what not to do" no-film school education. Your message rings loud and clear, and I'm going to make sure I prove you otherwise. I wish you luck with your own productions!

I usually appreciate Tyler’s banter and insights, but I’m with Isaac on this one. I am prepping for shooting my first feature, Dayglow Black I: Green, where I’ll wear many hats; writer, director, possibly DOP, camera op, editor, sound, VFX, title design, but also (executive) producer. Spent the last decade gathering most of what I’ll use to shoot and decided on film ? and VHS ? refilmed in the camera is the only way to tell a story set in 1987. My desire to shoot 2-perf is both aesthetic and financial. I loved the look of I Know This Much Is True and I love the idea of saving $10k to pay for more actors, better music licensing, or more towards titles & VFX. Hell, even saving $100 is worthwhile. As I have *zero* financing in place at the moment, and I have three 4-perf cameras, committed to shooting on film, and wondering what my options are. I’m more of a writer>director>dop who is very technically inclined, but I don’t own a lathe, or lens spanned wrenches, and know there’s certain things I should leave to the experts. A switchable solution to converting my existing cameras (Moviecam SL MK I, IIC, Arritechno 35-90) to 2-perf seems impossible, but while I work on financing and casting I want to explore the options. Even if that means sitting on these cameras ? and getting a Konvas 35. I appreciate your bluntness Tyler, but I also think I need to think like both a director AND producer for this one.

PM'ed you Victor

Price lowered to $12750 OBO. I will separate items out, media, DualDock, etc if necessary.

I am like 5-10 years late to the Techniscope 2-perf party. Derek Cianfrance's " I Know This Much Is True" for HBO recently got me hooked again on considering 2-perf. The movement kit would have to come from an Arricam donor, right? I have a IIC and ArriTechno I am deliberating on. Far too loud for sync sound, but my plans for those camera were far loftier. Maybe I should reach out to @victor huey because of this. 4-perf is cool for reworking the image some, but I am framing with 2.39 in mind.

https://www.slowmotioninc.com/service I wonder.... ?

Anyone offering a 2-perf movement? ? as a Penelope is out of reach...

Anyone? ??‍♂️Beuller?