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Posts posted by sines

  1. 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.


  2. 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. 

  3. 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.

    Theoretically speaking, would this work? Asking for a friend, before we waste a bunch of time and film.




  4. 273550924_10160033076090891_654884205371








    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

  5. 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.



    I have a O'Connor 50D, in good condition, no leaks, with Peter Lysand sticks. 

  6. On 9/6/2020 at 3:00 PM, dio zafi said:

    Want to buy a 24v battery for Moviecam SL?


    or is there a work around?


    The connection is 3 pronged xlr

    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 fuse

    Kobalt 24V battery Holder
    Seatight Inline Fuse holder

    Kobalt dual 24V 4amp batteries + charger

    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.





  7. 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
    Kobalt 24V battery Holder
    Seatight Inline Fuse holder

    Kobalt dual 24V 4amp batteries + charger

    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.



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  8. 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. 

    • Like 1
  9. 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. 
    "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,


  10. 12 hours ago, Tyler Purcell said:

    The only way to do it is if there were no ground glass and the video camera started and stopped like the film camera did. Then when you got the film back, there would be an automatic scene select based on the scan. It's all possible, but nobody developed a camera that can do this OR scanner software that could read the automatic start stop. They got close years ago, but it was grossly expensive and nobody used it outside of a few people doing Multicam work in Europe. 

    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.

  11. 4 minutes ago, Satsuki Murashige said:

    I don’t think the ground glass image would be ‘good enough’ for a 4K backup, though YMMV. For a quick preview edit, sure. Though it wouldn’t be nearly frame accurate enough to do an online/offline workflow, so you’d just be redoing all of your editing work manually after you get your scans back.

    I’ve had a potential client ask for an Indiecam Tap + clean ground glass, so I guess that’s a thing now. I sent them to Keslow and Panavision, as that’s well out of my league.

    Also, if you want to shoot with both cameras simultaneously, I think you would want two systems (one per camera) and keep them built on the cameras, as they more or less need to be calibrated for each camera.

    It’s a very simple thing to remove and replace the Video Assist on the SL, with its locating pins. But I think it would take way too much time on set to swap a universal tap like a CEI between different camera bodies and have it focused and framed correctly. But that’s just my take, maybe I’m wrong about that.

    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+. 

  12. 5 minutes ago, Satsuki Murashige said:

    I certainly wouldn’t spend more than what I have already on upgrading the tap. It was a bit of a stretch for me, as it was. I bit the bullet because I was already 75% there on my own and already owned all of the components. I can’t imagine who the target market is for the €16,000 Indiecam Tap! 

    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. 

  13. 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

    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. 


  14. 22 hours ago, Satsuki Murashige said:

    I had an HD-SDI Video Assist upgrade finished for me by Greg Defoe of Defoetech last month:



    This an upgrade of my design with parts that I've managed to scrounge up. It is not flicker-free, but it works well with Teradek Bolt XT transmitters and HD-SDI monitors, which is all I wanted. It required 10+ hours of engineering and machining on his part, in addition to many hours of my tinkering over several years.

    I know that Greg is working on his own HD-SDI Video Assist with a different design for another Moviecam SL owner, and I'm sure that one will be even nicer when it's ready. Greg used to work at CEI, btw.

    If you're interested in a HD-SDI tap for your Moviecam SL, I can let him know.

    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!

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