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sines

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Posts posted by sines

  1. 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/

  2. 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

  3. 2 minutes ago, Giray Izcan said:

    I would shoot a short or a teaser for your feature and try to get funding. With a teaser, combining images, art work some stuff you shoot to convey the tone of the film, at least you could show something visual along with a strong script to investors and actor managers etc. Crunch numbers to estimate the budget, from locations to rentals to crew to catering and try the raise that much and then shoot. 

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

  4. 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!

    • Like 2
    • Upvote 2
  5. 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.

  6. 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.

  7. 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.

    283820504_5462720887072471_4463645088799910765_n.thumb.jpg.70231520b087316bed92586757fa2e9a.jpg283980647_5650600461634306_3066004793067548285_n.jpg.a83c90b760005ec16d9412ca5bc0cb69.jpg283985938_5079271345521805_4245785387069336211_n.jpg.3768b3584e0c9c668c0119fef8241af5.jpg284219799_5292181190869406_7949008923920705246_n.jpg.fdb1e361b4df5ff3916b3b17f08a9e55.jpg

  8. 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. 

  9. 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

     

    page185image50766368.png

  10. 273550924_10160033076090891_654884205371

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    273600696_10160033075765891_921230650819

     

     

    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

  11. On 12/24/2021 at 9:33 PM, Matthew W. Phillips said:

    Got my CP16r in and forgot how heavy they were. Need strong support which I don't currently have. Trying to get best value for strength so looking for an O'Connor 50D Fluid Head with sticks. Hopefully not in need of rebuild.

    Thanks,

    Matthew

    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
     

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