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Everything posted by sines

  1. Here's the other one in good/great condition.
  2. I randomly found two for sale within 100 miles of one another; with one responsive seller demanding $1200 in poor condition seen below (rusted chrome/patina throughout) and the non-responsive seller asking $500 in great condition. I already have a Matthews Doorway Dolly (no seat, bazooka, or turret) that I seldom use, but think this would be a decent dolly if JL Fisher are not in my budget. Photos attached.
  3. Yep, I got 2 copies of the manual, plus Samuelson’s bible. I am guessing that the video input on the Moviecam is composite, not component. It’s separated on a component signal and carried I believe on the Y (R) channel.
  4. Bumping this topic. 👊 I have a Moviecam SL with a Synco box and I want to film some detailed CRT shots ala reverse telecine -- both where the CRT tube is shown, but also macro shots where I can visibly see the scanlines and aberrations on screen. The footage will be played back at 29.97i and captured at 24fps. I have done it thousands of times in post, and also filmed off CRTs with digital cameras, but I want to use the Synco box with some home videos off a VHS deck > old Tube TV. The sync is a 5V TTL, as per the Moviecam Compact Manual: "[C] Fig. 155 – THE SYNCOBOX Apart from an exact and repeatable synchronization of the MOVIECAM COMPACT with video and computer images, the camera may also be synchronized with generators, other film cameras, front and rear projectors etc. The SYNCOBOX can process any 5 V SYNC signal (TTL) or video norm signal (1 Vpp). The frame speed input at the control board and the crystal control of the MOVIECAM COMPACT are inactivated by mounting the SYNCOBOX." This anomaly of early HDTV is a combined Digital AND Analog VHS deck that has both component and composite output, which I would use as my playback deck. http://support.jvc.com/consumer/product.jsp?modelId=MODL027070 Theoretically speaking, would this work? Asking for a friend, before we waste a bunch of time and film. Todd
  5. For sale is my personal Arri Alexa XT package $13,500 USD + shipping, payable via bank transfer Local pickup in NYC, or can arrange for Miami or LA (camera is in NYC now) Includes everything in photos above: Arri Alexa XT, 3180 hrs, 4:3 Open Gate Xtreme license bundle Arri EVF-1 electronic viewfinder and cables 3x 512GB XR Codex Drives Codex XR Dual Dock SAS Transfer Station 32GB Sony SXS Pro drive Codex SXS XRT Adapter ATTO Technology ExpressSAS H680 6 Gb/s SAS/SATA to PCIe 2.0 Host Bus Adapter, 2x SAS cables won't bore you with a bunch of Arri product numbers here but you can see all of the cables included above 24V Power supply 100-240V Shoulder pad 2x Anton Bauer Dionic Gold Mount Batteries 2x IDC V Mount Batteries Carry-on pelican case for media and batteries Arri steel case in excellent condition Available for pick up in NYC or I will ship with ACH Bank Transfer
  6. Hi Matthew, please send me your email and I'll send you photos! Thanks.
  7. I have a O'Connor 50D, in good condition, no leaks, with Peter Lysand sticks. https://kitsplit.com/rent/peter-lisand-jr-a-74-heavy-duty-tripod-supports-50-lbs-brooklyn-ny
  8. Hi Dio and Satsuki, here's my solution to the 24V battery for a Moviecam [cross posting from another thread] If you're trying to get 24V batteries for a Moviecam SL to beyond 40 FPS without breaking the bank, I can confirm this combo "Box store" works:5 or 6.3 amp fusehttps://www.amazon.com/gp/product/B004GFA74Y/Kobalt 24V battery Holderhttps://www.amazon.com/gp/product/B095W2SLF6/ Seatight Inline Fuse holderhttps://www.amazon.com/gp/product/B000N9PI32/Kobalt dual 24V 4amp batteries + chargerhttps://www.lowes.com/pd/Kobalt-KOB-24V-2-4-0AH-BATT-110W-CHRGR/1003139096The above totals less than $175 all in.Wouldn't hurt to put a 24V regulator in there but I have shot 4 rolls in the last 2 weeks with no failures or voltage errors yet.https://www.ebay.com/itm/351313027708
  9. Side note, if you're trying to get 24V batteries for a Moviecam SL to get up to 40FPS without breaking the bank, I can confirm this combo "Box store" works: 5 or 6.3 amp fuse https://www.amazon.com/gp/product/B004GFA74Y/ Kobalt 24V battery Holder https://www.amazon.com/gp/product/B095W2SLF6/ Seatight Inline Fuse holder https://www.amazon.com/gp/product/B000N9PI32/ Kobalt dual 24V 4amp batteries + charger https://www.lowes.com/pd/Kobalt-KOB-24V-2-4-0AH-BATT-110W-CHRGR/1003139096 The above totals less than $175 all in. Wouldn't hurt to put a 24V regulator in there but I have shot 4 rolls in the last 2 weeks with no failures or voltage errors yet. https://www.ebay.com/itm/351313027708
  10. *edit* never mind.. rolled back to Yosemite and Codex server 3.0.0, swapped cables and got it loaded!
  11. Hoping to find a kind soul in NYC to help me quickly transfer 1 512GB card of Codex XR media (recorded on an Alexa XT) to SSD. My expansion chassis for my Atto H680 SAS card is not cooperating and I cannot, as of yet, get either of my Mac Pros to transfer from my Codex Dual Dock (SAS). Please help!
  12. Thanks for the responses @Daniel D. Teoli Jr.+ @Tyler Purcell. Just subscribed to your channel with 5+ accounts 😉 I posted the same question to BMD's forum here, and so far, you're the only one who's chimed in with a link to footage actually scanned on the Cintel II, aside from the samples posted on their site. I spoke to a tech at the Burbank BMD office yesterday, and while not clueless, he couldn't give me much information about it. He said that I should just try to find a lab or another user that's purchased it and ask about their experiences. He couldn't give me a list of productions using the Cintel, aside from saying that people like ESPN, NFL, and the Library of Congress have the Cintel, but listed no studios, etc. with it I ask for real-world examples, because I found a Cintel II for around $24K, and I've got at a minimum of 4-6 features to shoot, ideally all on 35mm — 3 + 4 perf, no audio. I am not scanning archival footage, not dealing with warped, old film or trying to extract audio — but having a keykode scanner would be great. I relegate my digital cameras for tests or commercial work, but I'm use the Moviecam and Arri IIC + Arritechno cameras for features and special projects. When I do the math on scans of vs. buying a scanner, the later makes more sense, but I don't want to also waste time nor money on something inferior. The Cintel is within my budget; the ScanStation, even at the Archivist level, it's tipping the scale [unless Steve from Galileo Digital comes back with an offer I can't refuse]. The Kinograph, while cheaper, seems way too fiddly at this stage for it to be a viable option. I mean — most of my stuff isn't even written yet, but I still think I'd be tweaking out on building the Kinograph by the time my 6th film is shot. The Retroscan Universal Mark-II seems to be limited by resolution, and also is geared towards the home movie / archival transfer cottage industry. Not quite what I'm after. @Tyler Purcell— would love to talk to you offline about your experiences with it if you prefer.
  13. As I reach out for scanning quotes, scour the internet for deals on old scan stations, read and weep about Kinograph, and calculate the bust/"break even" threshold of owning vs. renting a scanner, I am interested in knowing what productions have been scanned with the Blackmagic Cintel Scanner. There have been many posts on Cinematography.com that suggests the quality is far inferior to the LaserGraphics ScanStation, Arriscan III, etc. https://cinematography.com/index.php?/topic/63228-blackmagic-cintel-film-scanner/page/4/ https://cinematography.com/index.php?/topic/81428-new-scanner-from-moviestuff/&tab=comments#comment-517078 "Until BMD loses the Sprockets and the bad 4K sensor with fixed pattern noise I would not call the BMD Cintel really a "professional" scanner. Also it is very much less than 2K for 16mm." This is from the owner of Cinelab in MA. "Ohh and the Blackmagic Cintel is professional in every way BUT the imager. It's 90% there... a very simple imager update will solve all the problems, now that they have a sprocketless version. “ The site says that for 35mm, the resolution is limited to UHD (3840x2160). Given that BMD create 12K cameras, I would hope that the sensor is upgradeable. I am shooting film on my feature and I fear that purchasing the Cintel 2 for scanning will be a $30K boat anchor, if the quality is garbage like the above people say. For what it’s worth, I own a Moviecam SL MKI, Arri IIC, Arritechno 35-90, Arri Alexa XT, a PL mount modified Pocket Cinema Camera 6K, Davinci Micro Panel, plus had an URSA, URSA 4.6K EF, and a few of the original Micro and Pocket Cameras. I have been pretty loyal to BMD, despite being stuck with some dead end cameras [hello, OG Ursa!] I edit absolutely everything in Davinci Resolve. Thank you, Todd
  14. I thought the rotating mirror, aside from say a system like a Photosonics (which use a rotary prism shutter and beam splitter) passed every other frame: 1st frame film, 2nd frame viewfinder, and so on. Thereby you would never see the exact frame that was exposed on the film, as the shutter would only open for the viewfinder when it wasn't exposing the film. Of course, at 24+ frame a second, the naked eye wouldn't see this, but you've never get an exact frame match when trying to do a match frame in the edit. It would always be delayed by 1 frame. Perhaps a deep neural-network based "automatic subject detection" would be "good enough" to match the footage back. Looks like we're stuck using slates — would be swell to try automatic slate detection like ENDSLATE.AI.
  15. I am sure you're very much right. My thought was running the IIC or modified Arritechno on a gimbal/steadicam/drone[!!!] with a lower-rent wireless tap, and spend the larger sum of money on the Moviecam tap, where 75+% of the shots would be from anyway. When you're in the edit, you could at least rough out what you think you got, and then slip the shot by a frame or so when your scans are back. It would be physically impossible to get the same exact frame that the film saw, and vice versa. But I think it would beat waiting for film processing and scans, especially since I'm looking into some less-than-conventional options for that. It's very much a digital/analogue hybrid workflow, but as a bonus, you could also get reference sound in there as well. .....as I sit here trying to think of other purposes for my yet unused Odyssey 7Q+.
  16. Yeah, that pricing is insane. I think they know that most people now can get Moviecams of any flavor well under $10K. There was one in Turkey for $1690 a few months ago, but I bought an Inspire 2 and X5S instead. ¯\_(ツ)_/¯
  17. After writing a lengthy response, I'm backing up a little bit and wondering if a "Universal" tap would make more sense — my film cameras are @Lyle Norton Vincent's Moviecam SL, an Arri IIC, and an Arritechno, either of which I want to gut and rebuild like this https://www.fdtimes.com/2018/07/02/ultra-light-arris/ A 2K+4K flicker free, "clean" ground glass image that you could record to an Odyssey 7Q+ would be pretty nice as a backup, and also something to generate digital dailies from. Of course, outfitting your camera with a clean ground glass is another story.
  18. Yes please! Andrew is local, but it sounds like Greg has already figured all of this out — and probably doesn’t have to reinvent the wheel. I’ll PM you my email. Thanks so much Satsuki!
  19. Not to completely hijack this thread, but just how similar are Arricam LTs and Moviecam SLs? Want to rig my SL with an IndieCam Assist, but wow, they are pricey! Like 3x the cost of my camera package. Wondering if the video block is interchangeable. Side note — anyone have luck with AZ-spectrum.com's flicker free HD assist?
  20. not yet, but I think I'm not in your price range @Attila Somos
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